Analysis of J.S.Bach’s Preludes & Fugues Part 2 – Riemann

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(2) Please. handle. this. volume. Music MT 145. B14 R3 S3 v,2. CLOSED SHELF 1.

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(7) ATJGENEE'S BDITIOX,. No. 9206.. ANALYSIS OF. J, S.. BACH'S. Wohltemperirtes Clavier Preludes and Fugues). (48. BY. Dr.. H.. RIEMANN. TRANSLATED FROM THE GERMAN BY J. S. SHEDLOCK, B.A. PART. II.. (PRELUDES & FUGUES. Nos. 25 to 4S). FOURTH IMPRESSION. AUGENEK. Ltd.. gNIVERSlTY Of CONNECTfCUT STORRS. CONNLCnCUT.

(8) NHS". by. AUGENER. LTD.,. 287 Acton Laue, Xjoudou.. W.. 4..

(9) CONTENTS. (SECOND PART.) Page Analysis of. all. the Preludes and Fugues of. tl)c. Well-tempered. Clavier in the chromatic succession of keys:. No.. —. I. in. C-major. I. 2. .,. C-minor. S. 3. :;. ci,-major. 17. 4. „. -minor Cjj-r. 24. „. 5. „. D-major. 33. „. 6. „. D-minor. 40. „. 7. ,,. Ej?- major. 46. „. 8. „. Et? -minor (Djt- minor). 53. „. 9. „. E- major. 64. „. 10. ,,. E-minor. „. II. „. F-major. „. 12. „. F-minor. „. 13. ,,. FJlj-major. ..... 76. 85 94. 103 113. FJj-minor. „. 14 „. „. 15. „ G-major. 127. „. 16. ,,. G-minor. 134. „. 17. „. A^-major. 143. „. 18. ,,. Gfl-minor. 150. „. 19. „. A -major. „. 20 „. A -minor. „. 21. „. B^-major. „. 22. .,. B|7 -minor. „. 23. „. B-major. »,. 24 „ B-minor. 160 ,. ie>7. 173. 179 .. 192. 204.

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(11) Jl.. I.. PRELUDE AND FUGUE. IN C- MAJOR.. The prelude in C-major which opens the present book is far nobler and more stately than the one in tlie same key of the first book. It may be that it is only an old piece revised and extended (Spitta II, 663); anyhow the earlier sketch, in developed form, appeared to Bach worthy of being placed at the head of the counterpart of the great work of his youth. The chief motive powerfully wends its way over the doubled pedal note (C<:): Moderato, poco maestoso e sempre espressivo.. (4). f. assai. 9^T^. 5*f*^" dun.. m. (4):5:. Riemann,. Annlysis of Bach's "Wohltemperirtes Clavier".. II.. I.

(12) SECOND PART.. 2. The whole piece, consisting of eight periods, with some few intercalations and close-confirmations, is entirely evolved from the motive of this introductory half-period in which all the four voices take part. The correspondence of the first and the second half of the piece, and the almost faithful repetition of the principal matter with changed key, after the manner of sonata-form, are worthy of note, and at the same time offer they contrast to all the preludes of the first book. This is all the more remarkable, inasmuch as the course taken by the modulation, with the transposition in the fourth (under- dominant) selected by Bach for the outset of the repetition, is not one which necessarily leads to the principal key. The first part, indeed, has such a decided tendency towards the under-dominant that the transposition leads to quite striking, deep-seated, underdominant eftects. The modulation is naturally so planned towards the end, that the principal key, after all, is reached and maintained. I cannot help thuiking that it is "old" Bach here speaking to us, and no longer the young man of 1722 storming up to, and even over the dominant; but one pensive, inwardly musing, and occupied with the origin and end of humanity (the two chords of the Neapolitan 6'^^ [o^2> and o^2>] forming the knotty points in the first and second parts should be specially noticed;. :. 1st period; in the principal key.. cF. g^-. and period:. c» d' tc. the dominant and parallel..

(13) PRELUDE AND FUGUE IN C-MAJOR.. I.. NB,. ^. ^. (5r. (4). Oe. e'. ^b aVll j a'. .. (8). (6). VII>. <>a. .. M'^!' I. a'. a'. ^a. (=dni^) 3rd period;. to the parallel of the. i^D-niinor.). \if=i=:ir-f--r'. t. i^EEE. under-dominant. £Hg;^=l^i=p—. t^. (8). (0). (4). (2). (=bt>») 4th period: to the under-dominant (F-major).. tm^^m^^i^^^^ (2) dlll-^ a'. Oa. «a. 5th period: through under-dominant (F-major).. 2^. (4) f. ^e. e'. the. (8-1). (Gl. ,. '. bW" M"^' a'. second under-dominant. d'. c^. g'. (B?- major). to. (NB. repetition of the 2"^ to 4th period.. ff fith. 6. gT c+ f6g" c+. IVII. {!)c«d' g^-. ;.^. period: from the under-dominant to. its. parallel.. NB.. «e. a7. (4). Oa (giji'j dVli;. ^*. ^m ^f^. .. .. if=f=Tl t:::^ (8). (6). (5) d"^. <^d. yil. Og2>. I. d"^. "d. 7th period: to the parallel of the second under-dominant (G-minnr).. f. the. d''.

(14) SECOND PART. free leading. i m. hack. 1^. ). 1^. i'-ii «d. gvn(2)0dyii. 'II. a'. g7 cf-d^ g7 (4a)c +. J.. f+«. 8th period: through the urn'.er-dominaiit bnck to the principal key.. Certainly a very marvellous piece!. By the side of this prelude the fugue a 3 which, though not short, is nevertheless only a very small one, appears like a harmless toy: it really consists of two developments, and (with excei)tion, of course, of the dominant modulation of the Comes) does not really leave the principal key. The theme belongs to those of quiet character, inasmuch as it keeps within triad limits (cf. I 11), and revolves round the third, first with an attempt to soar aloft, but afterwards dropping into musical commonplace:. Con moto.. g^2^!^S^§^ poco f. ^. (4). The Comes fulfils its task of modulating to the dominant, and in the usual manner, for it opens witli tlie liannony of the tonic (with ornamented c instead of ^, i. c answered l)y r e. g^ g), and then passes to strict. —. —.

(15) /.. PRELUDE AND FUGUE IN. C-. MAJOR.. C. fifth. The countersubject is evolved in a manner from the flowing second half of the. answer in the natural. theme:. dim.. i^^. ip^?3=;. -i*rj. The. -.^ (8). fill up exactly a period of but as the third (lowest) voice joins on immediately, we have a period of three members (aftersection repeated) which forms at the same time the first section of the fugue. The very short middle {ijiodidating^ section first toys with the opening motive of the theme in the two upper voices, while the countersubject pursues its course in the lowest voice; from this episode of eight measures (extended, however, by repetition of the sixth measure) grows a second development, for on the concluding note (eighth measure changing its meaning to that of first), the alto enters with the theme (Dux) in D {Doric), and is followed by the soprano with the Comes likewise in D Without doubt ihere floated before Bach's mind {Doric). a vision- of the once so highly important first ecclesiastical mode fDux) and its plagal (Comes); for our (and also for Bach's) ear, however, with its modern harmonic training, the real result of this manner of modulation is only a holding fast to, and emphatic accentuation of underdominant harmony. I quote the passage:. first. two theme-entries. eight measures',.

(16) SECOND FART.. *. .Om!^^^^ -#-#— ^. ^. ^. Dux. Comes. '^. ^. l4^^ ^—•if-ii-*. ^"5^. '^. r-T-irw. i The two Dux as a. I. 1^=r. wwm='. 1. ^ (S). at :{: certainly stamp the key of D-mino7' (the harmony of the pure Doric opening motive is d'^—g'^), and the Comes is Now, liowever one evidently in pure A-m'mo?- (^^^0may reason, it cannot be denied that the modulation section introduces the theme in the parallel of the underdominant. For the rest, this second development is incomplete. In place of a third entry of the tlieme, there follows, indeed, another episode of eight measures in which only the upper voices are concerned with the i)rincipal motive; this episode closes in the key of the under-. the. flat. real. b'%.

(17) /.. PRELUDE AND FUGUE IN. C- MAJOR. -. dominant {F- major), and by a deceptive cadence/"' becomes ^a, i. e. f^ (under-dominant); this gives rise to an appendage of two measures which closes in the principal key {ya 8 a). The third development which now follows. —. again in the principal key, i. e. opens the concluding section, which, owing to an unusually long coda, is specially spun out. This third development has the Comes in the bass, and after four bars episode which close the period, the Dux in the alto, to which joins on immediately, completing a second period of eight measures, the Comes in the soprano; thus at the end of the third development the key of the dominant is again reached. The coda at once inclines towards the principal key, and consists of an 8-measure period after the manner of the first episode, touching lightly the key of the under-dominant towards the close {c''), repeating the after-section, and ending on the third in the bass with an improved close of one measure, but by a prepared deceptive cadence [e"' ^e) once again deferring the end. There follow, therefore, first of all still three close-confirmations of four measures (the third over an organ -point c), one of one measure, and one of two measures; the three of four measures, on close examination, turn out to be another development of the theme (Dux) through all the voices, but in simplified form, without the semiquaver movement of the second half, for which ample compensation is afibrded by the other voices. is. —. ^ instead of:. ^^^^^^.

(18) SECOND PART.. II.. 2.. PRELUDE AND FUGUE The. C-?ni?ior. prelude. of the. IN C-MINOR. first. book appeared. to us vibrating with passion, full of restrained power, but. second book is of a milder character^ a veil of quiet melancholy is spread over the whole piece, which with its almost joyful, dance-like motives (even the sharp articulation by means of a repeat in the middle and of a number of marked close-formulas, recalls dance music) on the one hand, and two harsh, writhing, chromatic bass progressions on the other hand, appears altogether a The opening motive peculiar mixture of various moods. strongly recalls that of the F\-mmor prelude of the first book, but it is not so well rounded off (masculine endings), that of the. and. is. more. antagonistic (the. wavy. figure, as there, is a des-. cending one, yet in its smallest particle motive of upward tendency):. —. Allegro non tanto.. —. its. subdivision. ^. ite^^^. tht. pig^i^^^. ^^mm^m..

(19) 9.. PRELUDE AND FUGUE IN. C- MINOR.. q. This first and principal thougiit returns in the parallel key {E? ffitrjo?'), at the close of the first section, with the outspoken character of close-confirmation: and it must be understood in the same sense at the commencement. There the c in the under voice, by which it is anticipated (/tn), really marks an eighth measure, which first of all is confirmed by the above thought (the second half of which is formed, by exchange of voices, from the first half), and further by four measures firmly knit together in unity, in which the upward striving nature of the smallest motive makes itself powerfully felt (progression of fourths in the bass); also the chromatics of the lower voice, and the conduct of the upper voices, recalling the F-?ninor prelude of the first book, express deep-seated grief: -. P. W-=r-. P?. (8=1). The Doric a, which quite peculiar effect.. occurs twice,. is. here (MB.). of.

(20) SECOND PAKT.. lO. With eighth measure === first follows the real principal theme of the piece and it may be recognized as such, in that the second section also adheres to it. —. —. i ^=g:. a complete period of eight measures modulating to the. key of the parallel, with half-close on the dominant (^ t"), changed into a full-close by means of two appended measures.. The first section concludes with the already mentioned repetition of the introductory measures as close- confirmation, and a highly expressive close formula:. The second. section. is. arranged in similar manner,. somewhat more extended. It begins also with close-confirmations as ground work, yet in conformity with the character of a development continues to displace the effect of close from key to key {e^^' b\?'' ^K, a\?^- (rVH) ^7 0^. 0^ (=^^|77) a\?'. dV- (=/^^i) c"' Oc) until that of. but. is. the under-dominant (^F-mhwr) is reached. Here a halfclose is effected by means of three appended measures of passionate character, in which the bass works its way chromatically downwards (evidently as counterpart to the.

(21) r.. PRELUDE AND FUGUE IN. C- MINOR.. II. chromatic passage of the first section). In this middle part the melodic element is stronger, but it is interrupted by playful episodical motives, which remind one of the Pralltriller of the second half of the principal theme. t^t. ^.. ^E^-z^lfzt^E^^i^^^. mf~ (8 a). .^ (8b). (8c). -.. (8d). The introductory motive is employed in the uppervoice of the appended triplet of measures. psjap^pS^ cresc.. m.. molto.. -^^^^^^^ t^^. p=p= (8 b).

(22) SECOND FART,. IS. —. Now the principal theme appears slightly modified, without change of meaning of the closing measure, but prepared by the feminine ending of the same. —. ^^m^^^^m I. ,-m. again a complete period of eight measures, with full close in F- minor, followed by a second one as coda (still adhering clearly to the principal motive) with two extensions (3a 4a turning towards the principal key; 5a 6a once again introducing a chromatic progression in the bass), but without further appendage, and concluding with imitation of the cadence of the first section. The fugue (a 4 in the last two periods, up to there only a 3; it might be taken for an organ piece, with a is one of the quiet, pedal part introduced at the close) simple ones, inasmuch as the theme is confined to the fifth-compass of the tonic triad, and proceeds in quavers. —. —. of moderate movement: Moderate..

(23) *.. PRELUDE AND FUGUE. W. C-flfrXOR.. ,. ^. As the theme does not modulate, the answer has to complete the modulation to the dominant starting from the harmony of the tonic. {c. instead of. ^. at the. commencement). The fugue has no real countersubject, as the theme constructed with a view to strettos and combinations with itself in augmentation and in inversion. The first section runs its course in simple fashion; it consists of two developments in the principal key, the first of which gives the three voice entries, alto (Dux), soprano (Comes), followed by an episode of two measures returning to the principal key, and tenor (Dux) in a period of eight measures; after an episode of four measures begins a second period, closing in the parallel key, it consists first of all of two theme entiies: Comes in the bass (ending with G- major instead of Gminor), and Dux in the soprano (the first two motives is^. dotted:. ^. J^. J. y), whereupon two repetitions of the. fourth measure, with gradual sinking of all the three voices, transplant the close from C-mi?wr to A^ -major and to F- minor. The after -section now begins with the Comes in the alto (yet avoiding the modulation to the minor upper -dominant, and concluding in the principal key); the repeated 6'^ measure changes once more the whole-close into a half-close, so that the bass is again able to take the theme (Comes), and indeed, from the harmony of the tonic, closing in the under-dominant. As the under-dominant occurs at the 8'^ measure, the latter assumes the meaning of 6'^, /. e. two further measures become necessary, which by sequential formation (one degree higher, but without the theme) transplant the close to G-minor (minor upper-dominant), but as a formation by sequence can never form a satisfactory close, Bach adds. a confirmation of one measure with a cadence in G-minor. The last bass entry, as well as the sequential formation. display in a most striking manner the Neapolitan sixth (minor [Phrygian] second of the minor scale):.

(24) SECOND FAST.. ^^. and. l^^^^m^^i^il^^ OC. C-minor. 0f2^ ;?». c'^. Oc. Of. F-minor F-minor. 0c(-0g2>)(17. —. &- G-minor. In both cases we have a suspension over the chord of the NeapoHtan sixth (IV hkewise IV"^— V), and there is danger of mistaking the first for an E)? -minor chord (/^i?vii) and the second for a rapid transition to A7 -major, \d^^ ^b^'), which would make the understanding of the progression a difficult matter. The close in G-viiiwr is followed directly by the second section, of which the already mentioned comThis second binations form the characteristic feature. section is also in C-viinor and the fugue has therefore no real modulating section; but here it must be noticed that for this loss we are compensated not only by contrapuntal combinations, but also by rapid transitions and striking harmonic effects such as those already indicated. Some are to be found in the period immediately following, which consists, at the same time, of a wonderful chain of strettos (the free voices are omitted):. —V. —. Dux. ^^m=m^^^m Dux. in. augmentation. (2). r. tr t. Comes. ^. inverted. 7^tl ("•••. free. (4). note).

(25) i.. t'RELVDE. ^. AND FUG UK IN. Dux. C-MfNOR.. ^sS. ^^. Pn. ^. 15. '^.. i-tzbi^^. Comes. ^ L^. (6). (6a). Dux (under-dominant). Comes. ifefe. (parallel. of the dominant). ^fS. 1^. L-b=. (6b). /;. D ux. (parallel) (Gc). :b=i^ r. (8-1). ^. Dux augmented. This period also contains several striking notes (the Doric sixth a in 6a, and 6 b, also the d in 6 b). It should. be carefully noticed that in the first book of the Welltempered Clavier such notes are extremely rare, and are always employed in a less striking manner. The remainder must probably be looked upon as coda; the new period entering at the close (8=1) adheres firmly in organ -point fashion to the fundamental note, and in the bass the theme appears in triple form, while the othei voices (from this point to the end they are four hi number), have no theme entries:.

(26) SECOjVP FART.. i6. \ ,. ^^ FH—. h. ,. ^. I-. h. iT=~. ^. SiSfc. Dux augmented 8va. (2). (4;. —. •^r. -^^J^. theme. (6). gi5=i#i eg^=i^^p5^iEg^i (but phrased differently.). Some 3. —. 4; 6'^,. strettos 7. —8. in. 3-measure rhythm in the form. 2"^,. bring the piece to a conclusion:. m^^m. ^-^-^=h=i, }0~s. —. !-?. t~C:M2p-f-C:Jr^5"^^""~^^^^ (4). tenor: c. a/. bj?. c. f. b7a7g. bass:. c. dt?. c.

(27) J.. PRELUDE AND FUGUE IN. C\- MAJOR.. 17. e^=^^=EE£Sirs-^^=^. b^ -^g^. We. 5^. (8). already familiar with the fact that in such interval, only the leading voice can preserve the sense of the theme the others, with different phrasing, become counterpoint. are. strettos at. an exceedingly short. ^. II.. 3.. PRELUDE AND FUGUE. IN C# -MAJOR.. In mood and structure this prelude resembles the C-fnaJor prelude of the first book, and, according to Spitta (Bach II p, 664, Engl. ed. Ill p. 184) was also originally written in the key of C- major. An unchanged form of chord movement prevails throughout the greater part of the piece, viz: Sosteiiuto.. 2^. ^. Riemariri, Analysis of Bach's "Wohltf mpcrirtts Clavier".. ^.

(28) SECOND PART.. i8. The harmonic. of the. contents. first. section are as. follows. -^. c*}^. f{;+. I. ^i. gi|' (4). :^^=:^:. =Ji*^. 4'-. Pi. 22 (C) djf'. 3^:. g#'. dji' (8). —. •r. gi}'. t3 '4. w. ,>7 O^U it(G) (parallel). (dtiiniiiaiit). ^i^fc^^ IJfeiii—. ajJVlI. J*+ Oe|(=fl;7.)gjJ7(8)ej{. Objj. —. Jte3313^^1^ (U..D.). (. 7. a'#'. = <,^vn^). iiB^^^ V. djj'. (3a). w. p cj('. gtj'. (4a). f}j^<. <;. (C). a'^^l^anfei^ J-:S^. cjif. fff«. 47. (8). cjjf. ... (4). d)('. «d#.

(29) J.. PRELUDE AND FUGUE IN. C\- MAJOR.. 19. the tonic /. e. it keeps within the keys nearest related to (dominant, parallel, under-dominant), and finally settles firmly in the key of the dominant; this dwelling on the dominant must be looked upon as a half-close, after which the prelude concludes with a short fugato. The theme of this fugato (a 3) has no firmly defined shape; it appears in its most complete form in the first entry (soprano Dux in stretto with the Comes in the alto) :. ^. g-^. It appears in the bass in abbreviated form with bass cadential progression:. ^m The whole fugato includes two developments in three periods of eight measures with a few extensions, and at the close of the second period (which in the fore -section is an episode, and in the after-sertion has the theme in 2*.

(30) SECOND PART.. 2w. makes a modulation to the dominant. The idea of combining two such heterogeneous elements in a prelude is a remarkable one: it can, however, be explained by the fact that the piece was originally conceived as an independent one; the fugato could have been further developed but for the great fugue which was to follow. The fugue (a 3) has a short theme, yet not so the bass). short as Debrois van Bruyck imagines; in mistaken fashion he only reckons up to the entry of the second voice. It. runs thus:. —. Allegretto, sempre espressivo.. Comes. ftfe^^i ^g^^^i^^^ inversion of. Dux. couutersubject. mmr'C the. Dux. 2?lgf=ff|=&:. /.. e.. it. starts. with. an ingenious. The remainder. stretto. (alto. =. Dux. in. of the first period consists of an episode containing the inversion of the countersubject in the alto, and the inversion of the first thememember (4 notes) in the bass. The second period, which inversion)..

(31) ^. PRELUDE AND FUGUE IN. C'i-. MAJOR.. 21. joins on, begins with another ingenious strett.o of the theme (without inversion), and immediately afterwards, a second one with use of diminution,. Dux. -P— ^. 1. *. -r. »-. Comes. mm. mWi. Comes. mim .?. ..^^. in. diminution. .N. J. ^^^ Comes. Dux. (6). in. diminution. Dux. in diminution. and. inverted. freely in the key of the dominant In both periods the elision of the unaccented opening measure of each half-section (i, 5) is strictly carried out. A third period, in which the Comes occurs in threefold stretto, with free ending, leads back to the principal key.. concluding. should be noted how the task, which elsewhere long themes) is assigned to the separate theme entries, here falls to whole developments. The first development remains entirely in the principal key (according to school rule, however, when the Dux remains in the principal key, the Comes should modulate to the dominant); the second modulates to the dominant; while the third, It. (with.

(32) SECOND PART.. 22. =. passing through the under-dominant (^<^if f^^) regains The exposition only comes to a close the principal key. with this third development. The second (modulating) section of the fugue opens with a free merry-making between the first motive of the theme and its inversion, filling up the fore -section (with repeated second measure [2 a] and repeated second group 4a]), and ending with a half-close in the parallel [3a key {A^-niino?', ^J^); this is followed by another clever stretto (Comes in A^-viinor, D^-ininor, Gi^-ffiajor, [in-. —. verted]):. The second part of the middle an episode in which the countersubject. section consists of principally worked, but it concludes, returning to the principal key, with a stretto of the theme in diminution (not however carried out to the end): is. J^-^.-l ^=i^ (S). One might be in doubt as to whether such formations ought to be regarded as real developments; but as in the second half of the fugue, the theme never appears in complete form, one has only the choice between the supposition that from the close of the modulation section onwards there is no further theme entry, or that the theme suffers a loss of a few end notes. I prefer the latter supposition, without however acknowledging that the theme only consists of the four notes which it shows up. to the end..

(33) J.. PRELUDE AND FUGUE LV d-MAJOR.. *3. The third period of the middle section confirms the principal key by touching on that of the under-dominant, and, at the eighth measure, makes a half-close with a fairly intact theme entry in the bass:. ^. Wl. 3^^ (8). The concluding section is a long drawn-out coda: remains firmly in the principal key, which by colour shading is changed now and then to minor {Ci-7ninor,. it. with. organ-point on. g^, and. introduces as a fresh sur-. augmentation of the theme in combination with original form in direct and in contrary motion:. prise the its. m. -^-. ^L^-t^^^-^ It consists of two periods, of which the first has the and 5^^ measures ehded, while the last is complete, and then a close -con-ection of three measures (6 8, changing the half- into a full -close); and finally over a 1 5*. —. stationary bass. !. q1. still. a confirmation of four measures. (6-9).. The piece is of quiet character (the theme lies within the fifth compass of the triad position), but by a plentiful introduction of demi - semiquaver figuration it lively towards the end, calming down again measures into even semiquaver movement.. becomes more in the last.

(34) SECOND PART.. 24. II.. 4.. PRELUDE AND FUGUE The prelude. IN Cji-MINOR.. a deeply earnest piece, full of religious akin to the B7-)ninor prelude oi the first book, yet of quite different, and more complicated structure; the contrapuntal writing is strictly in three voices The piece can fairly well be divided with imitations. into two halves, the second of which is a free reproduction of the first-, it has, however, no reprise but advances without ceasing; and nearly all the period endings (5 out of 8) can easily ho. recognized by the rising arpeggio with which the piece opens (preliminary point of stress of highest order, 8'^ measure):. ardour,. in. is. mood most. P*|E^^=^ ^ Bruyck has shown the thematic structuie in a clever, but not exhaustive manner. Already in the first period imitation takes place, not only between two, but between all three voices; the four measures as they occur successively in soprano (1) bass and alto, are here placed directly one under the other, so that they may be easily compared Andante con moto. ma. molto cspressivo.. Soprano.. Bass.. L:J-. Alto.. (4). ii^^i^i^^ 4 ^gif. .^VII. (6).

(35) I,. PRELUDE AND l-VGUE IN. n— :x:. C%- MINOR.. 25. '. (*). gLigifega^ES. ^^;!^. :3VII. vu '^ff. Evidently. when. the. I. ,. —m— ^-0-^ .-. (^a) g;. OgS. g#^. ^g#. movement was. first. bass also had the exact theme (two octaves the soprano), perhaps only beginning with. gr. #-#-»r—»—a(5)cjjVIl. .Y" (8) djf'. sketched the lower than it. after. the. measure, whereas now it follows one measure earUer (at a distance of only three measures); its first notes fell a prey to the bass progression of the half-close. For the rest, it is considerably ornamented, and the harmony of the theme is much changed (and so indeed is it also. fourth. the enunciation of the theme by the alto voice). At the half- close of the alto on d%'^ (8=4) there is, first, a confirmation of two measures (when the soprano, starting from c J, gives once again, the last measure of the theme), and then a completely new after-section, which closes on the dominant. Herewith ends the principal theme section, and there follows a new, independent theme-group, in w^hich the three voices imitate one another at a short distance (each time after 2 measures); or, to be more precise, whereas in the first theme-section the upper voice throtigiiout took the lead (hence the free imitation in the bass which is scarcely recognizable), here the lead passes from one voice to another, and the imitation therefore determines the rhythmical structure: in.

(36) SECOND FART.. 26 (alto.). M /. V1I\. (=cj$IIlJ (soprano.) •?. ^-,l}^v^^^M^ •7. ^i ^^fcHg^. /. .^. ^,,-. ocjf. ^. (<'fii. =. =# fe: {[iif^^yiriSI e«. (*). (bass.). ;^fe^^^§i c|'. \. VII. <i«,. ^^ (6) fj('. b+. The first motive of this intermediate theme springs from the continuation of the soprano during the enunciation of the theme by the bass:. »^^a^i= and, indeed, from the counterpoint of bass and alto to the first enunciation of the theme by the soprano:. ^^^^^fe§i.

(37) 4.. PRELUDE AND FUGUE IN. Ct- MINOR.. 27. But also during the close of the period and its confirmation, further, though not quite strict, use is made of the same motive: alto.. m. :1:= (8). b'. soprano.. mm. t^. -^-Jr. i-.--. ffi^^ (8 a). As when. dominant. is reached at the end of the the parallel key is reached at the end of the second, the rising arpeggio makes a prominent appearance; but in the latter case it directly introduces a new thought in the soprano, which again is imitated by the other voices, and thus forms a concluding third member of the first section:. first. the. division, so here. when. soprano.. ^<:-. ^fe. 1^. n ^:^5z:t=Jz53 f«'. (2). rC (^o). iSfei. ^^^Pi:. f>VlI. »cjt. VII.

(38) SECOKD PAFT.. -^^^^rETtn^r^-r gft'. "sti-. 'f8. ff. IS^ fi^r. ^. VII. Ocj(. (U-D) With this the first section of the piece is at an end, and the second, as already mentioned, consists of a free repetition (and in part transposition) of the. first.. It. begins. key of the under-dominant in which the alto gives out the first theme; and the inversion of the voices clearly reveals the derivation of the motive from the second themegroup. When a return is made to the principal key the soprano again takes up the theme (as at the commencement, in the. only with a richer bass); also the bass gives it out again, It would lead us too far as at first, but freely diverges. away, were we to attempt to show how Bach, by different grouping of the separate voices of the first section, by inversion of voices, lends a fresh charm to the recapitulation of what has already been set forth; but of one thing we must make special mention, viz. that the close of the prelude is a transposition of the after-section of the second period in the lower fifth, and that the displacement of the parts is brought about by the preliminary enunciation of the theme by the alto. The fugue (a 3) has no spiritual relationship with the prelude, and, at best, suits it owing to the sharp conIt has, as Spitta rightly remarks, the character of trast. a Gigue, and it is quite a wonderful Ferpetuufji juobile. The theme runs along in unbroken semiquavers; as it moves in plagal form around the toni-^, having as limit above and below the fifth of the key, but returning to the tonic, it does not actually press forwards, neither does it sink.

(39) 4.. PRELUDE AND FUGUE:. downwards, but runs and thither.. m Ci- MTNOR. narrow. busily, within a. g^. circle,. hither. Con moto.. (4~5). CICSC.. The answer the dominant,. is. a faithful transposition into the key of. which. is. by no means. intelligible,. as the. form:. ^^^^^a^mm. =-E=. (without the sharps indicated above) would have- been correct and intelligible (or, at any rate, the first /"x need But it corresponds thoroughly not have been written). with the hurried nature of the whole piece to fall head-. long. into. dominant.. the. Again. that. Bach. does. not. the bass first come to an end, but brings in the Comes in the soprano two measures before its time, and, likewise, before the end of the close -confirmation (8 a i) the Dux in the alto, is quite in keeping with the character of the theme, and with that of the whole piece. let. =. Besides the theme in of it in inversion Bach's Gigues:. —. made. its. original form,. and. in that. it. rich. use. is. also resembles. ^^^a^p^g^i. gga^^. Of the counterpoints the most important is the one l)roceeding by dotted quavers and with a syncopation at the commencement; its actual form is really not the one which it has as first countersubject to the Comes (where.

(40) SECOND PART.. 30. the leap to the leading-note is only made on account of the writing a 2 \ Bach could not well have gone to the /"x below, because, in so doing, he would have altered. the melodic outline):. Sometimes the. he. has. a. chromatic. step. in. place. of. tie:. ateil^^ in. tliis. form. — quite. at. it. is. counterpoint to the Dux, but. the end — beginning a. point to the. Comes. it. occurs once. too late, as counter-. J^. (but wit? dominant form [Mixolydian]);. l^^Siii gig^. i^Ml^-f-MlfLJ!:. fe^s. and once (in the last development but one], a fourth lower {i. e. inverted in double counterpoint in the 12''^), as counterpoint to the Dux: (8va). ^^pt^^ I.. —.

(41) 4.. A. PRELUDE AND FUGUE IN. C^- MINOR.. second and important counterpoint. (to the. 31. Dux). is. the following:. ^^^^^^^Mm In this elaborate form it occurs indeed only once (at the beginning of the second development), but it must probably be looked upon as inwardly related to the following more sedate one, which occurs frequently, and is also often to be met with in the episodes:. -^^m Csecond half). A. descending passage, more or less chromatic, appears as counterpoint to the inversion of the theme:. ii^ppspfi^ |tt=g^jjjjjjgj^-}=M^fe_^ The episodes consist, for the most part, of workings of the same motives (especially of the second half of the theme, and the fourth-fifth progression of the countersubject-, also of the passage rising by four degrees: ^^ a^ ^j{ c^ in quaver notes). A fresh, pulsating counterpoint to the latter introduces new life: it first appears at the end of the first episode:.

(42) SECOND FART.. 3>. and afterwards forms the chief material of several episodes. The fugue has no less than five complete developments, one of which, however, is redundant, unless one prefers (and probably more correctly), to consider that there is a. The. first, foundation -laying section probably includes only the first development and the extended episode which follows it (after-section of the second period with confirmation of two measures, another complete period, and a transitional. sixth,. in. incomplete one.. the. principal. key. half-section).. The modulating section introduces first of all a second development (Dux in soprano. Comes in alto, and a closeconfirmation leading to the theme in the parallel key [E-maJo?'\ in the bass), and at the end of the second period extended by repetition of measures 3 4, a comsoprano: plete development of the inverted theme theme in B-major (dominant of the parallel key), alto: theme in F^-mi?ior [under-dominant], bass: theme in the whereupon follows immediately a delivery principal key of the Dux intact in the principal key in the alto, completing the second period, and marking out a fourth development. Here a return is made to the principal key; the end of the modulating section, however, is not reached, but only the middle of the same. For after an appendage in cadential form of three measures, changing a whole- into a half- close (^S^, a specially long episode commences, which in three periods with several extensions, passes through the keys of F^- minor, B-major G%-mitwr (minor upper-dominant, in which key a long halt is made), Ci^-mifior, Fl^,- minor, B-maJor, E-major and A-maJor, finally leading to F^- minor, in which key the fifth development, forming the opening of the concluding section,. ——. —. ^. enters with the Dux (soprano)- quickly re-establishing the An episode, opening with the change of principal key. meaning of the 4^^ measure to that of I'*^ soon turns towards the under- dominant side, and concludes at the.

(43) J.. PRELUDE AND FUGUE. /.V. D- MAJOR.. 33. measiue in A-major (parallel of the under-dominant), which the alto introduces the inverted theme starting from c\\ the bass joins on with the Dux in direct form, definitely restoring the principal key. Two triplets of measures of bold formation lead on even to a 6''' development, in which are introduced, in a specially well-sounding middle 8'^. in. position,. still. three. theme. entries:. Comes. in. the. alto. two triplets of measures rising from the under-dominant the Dux in the alto; and finally, once more, the Comes in the bass with two confirmations of two measures. (tenor),. after. 11.. 5.. PRELUDE AND FUGUE. IN D- MAJOR.. This prelude is not of fugal character, but in fact a splendid, real gigue; it is a correct dance movement, with regular groups of periods, and in two sections with repeats. A powerful foundation-laying period, which appears at the beginning of the second section in inversion, Allegro ri^oluto (4. I).. (8) inversion;. ^li Riomann,. Analysis of Bach's "Wohltemperirtes Clavier".. U..

(44) SECOND PART.. ,.. 34. §^^^ followed by a sportive toying with the opening crisp arpeggio motive commencing with a slide ("Schleifer"). is. etc.. ^='^". -#—ff. —. ^' .. tl7»^. this lasts through two periods which modulate to the dominant, and wliich cloi>e with a formal cadence-, where upon, after a further complete period, follows the confirmation, which as after-section only receives a triplet of measures (to be played with breadth). The second section is worked out with the same material, i. e. no new motives are introduced. But it opens with a somewhat lengthy development (five periods, the fifth with a powerful extension), which preserves, however, the fresh dance-like character, never making a display of learning or of artifices; and after the inversion of the introductory period it is worked in a manner similar to that of the first section, but avoids the principal key (it is in A-major and B-7nmor, dominant The rest is a return of the first and parallel keys). The section, avoiding the modulation to the dominant. strict writing in three voices which is carried nearly through the whole of the piece, but which is never felt as a fetter, deserves notice. The fugue a 4 is likewise pithy, and full of quiet determination, so that it forms an excellent counterweight One might almost say that to the onset of the prelude. the movement of the fugue is altogether too uniform (only quavers), were it not that the prelude renders such smoothness desirable. The theme opens with the motive. and. of the C-7ninor. downward from. Symphony. (but broadened outl) the octave to the third:. and sinks.

(45) J.. PRELUDE AND FUGUE IX D MAJOR.. Sostenuto, con forza (4 J. "^. ).. ^5.

(46) SECOND PART.. 36. (tliis also with its accented rest, recalls the G-minor fugue) does not only everywhere accompany the theme, but plays also a chief role in the divertissements^ it never however comes forwaid in a marked manner, in that it has no moment of rhythmical importance (the above mentioned rest, certainly is of such a kind, yet no safe use can be. made of it). The modulating middle periods with some extensions. the. first. comprehends three. section. The. first,. shortened, like. i ^^ and 5^^ once begins the modulation by presenting ^^ii) and concludes with the E-7?ii7ior (a^^. of the. measures,. exposition,. at. Dux in Comes in -M^-winor. the. by. elision of the. =. I>ux- in- B-ininor^ in the And as though this modulation had entered soprano. before its time, a powerful close of 2 measures, by way of coirection, turns the tonality back to A-viajor (dominant), and a new after-section introduces Comes (alto) and Dux should be noticed, that the premature it (soprano. -(likewise. —. made with the re-establishing the principal key: modulation was. The episode. same. voices). in. stretto,. —. of eight measures (with a triplet for i 4; 2 would be wanting) which follows i enchanting; the four voices enter one after the other is (alto, soprano, tenor, bass) with the concluding motive of the soprano indeed four the theme, but each twice and hanging on the times, but pushed on in the measure or 2. —. 4, in. which case. —. —. one. to the other,. jlS. —.

(47) /.. PRELUDE AND FUGUE IN. D- MAJOR. i. 5^1-. ^. i. 37. :p=^:. (4a)'. SO that a prolonged upsoaring together with slow downward sinking, leads again to the dominant, for the purpose The close is therefore at once of starting modulation. bridged over by the alto which continues its course:. (2). and a complete development follows on with tenor (see Ni>.), soprano, and alto in stretto, while the bass, but only. at. the. close. of the. period,. repetition of the after -section:. (8-4). follows alone. with a.

(48) SECOND PART.. 38. Thus B-minor. Dux. in B-muior\ soprano: Comes in F^-jninor)\ alto: Dux in B- minor in B-iiwwr (but with decided entry and close. tenor: in. (Dux. bass: Comes in F^-7m?iof').. With this the modulation section comes to an end, and there follows the concluding section establishing once again the principal key, which after the close in F^-minor starts at once in D-major and, indeed, with a stretto at very short interval (two quavers!) between bass and soprano, and even the first four notes in the alto:. is. s. ^'^. J.. ^.. §ii,:rg^>^g^|j:zpjz; The remainder. of the period (free) turns towards the under-. dominant {G-7?iajor), announcing that the end is nigh at Now follows a stretto scarcely hand, and closes in it. carried out to the end (tenor, alto and soprano with free accompanying bass), again at the distance of a crotchet.. beginning in G- major but concluding in D-major ana with measures 3 and 4 repeated (through B-mlnor)\ and.

(49) J-.. PRELUDE AND FUGUE IN D-MAJOR.. 39. —. an extended after- section (triplet measure for 5a 6a) settling in broad manner in the key of D-7iiajor. A kind of coda brings next, a highly effective presentation of the Dux by the tenor (the voice with which the fugue commenced and which must be looked upon as the chief voice "tenor- fugue"), first accompanied in third parallels by soprano and alto, then strengthened by the bass with thirds; and finally, at the end of the period (8=2) a presentation by the bass of the Comes distoited by two chromatic notes bringing everything into question:. '^^^^m. (8=2) l^»'. Then. all. four. (I). voices enter. aVll. still. (4) a!. once again. for a stretto. at the smallest possible interval:. E^ i m^^^^m. .-zz^.. ^Mf I. m. i. V. and now. (4a). of all by means of a fine triplet extension they sink down with one accord;, the aftersection is repeated, the soprano ending on once-accented d^ the bass on great D.. for. 5. —. 6). (first.

(50) SECOND PART.. 40. II.. 6.. PRELUDE AND FUGUE. IN D- MINOR.. These two pieces would be equally well placed in book oi the Well-tempered Clavier, for they have the same youthful, fresh imagination, the same bewitching. the. first. we have noted in many a number of the In this second book we repeatedly find a book. preponderance of reflexion, work more finely thought out, and more intense harmonic ventures, which perhaps may be explained by Bach's later absorption in the old church The prelude under notice is throughout k 2, modes. and arranged on similar lines, though somewhat more developed, to those in F-?naJor and G-major of the The thematic material may be reduced to first book. throe elements, namely, first of all, a quiet chord figure in one voice in semiquavers, in the other in quavers: delight which first. a). ^i^pSip.^^-^. i^^^g. ^5^^ — y. (2). g^^^^Ep^^ (4).

(51) 6.. PR ELUDE AND FUGUE IN D MINOR.. 4J. secondly, a scale motive carried out by both voices in contrary motion:. b). jli^^fe l ^^i mf-.. §!^^. ^. f. f:. ^. y. p. fc. j. ^^^. P. ^^^^^ — ^^^=^ gr. and. "n. thirdly,. etc.. —. ——. -#. H"^—. ^. #-. JE^E^E^Eg^^. one, more pointed, likewise. more wavy,. both voices:. b. #. PCT,. i # ». f:. S-. ..#. ... -^. m.

(52) SECOND PART.. 42 f'P. d). 1^^^^^^^=^ ^^=5i. ipzir-tj:. $=^. ••=?=. and. it. first. period {a). turns to. minor upper-dominant,. the is. repeated, while b) and. in. c),. which the. quite. trans-. formed or rather changed almost beyond recognition by inter-workings with (a), are developed in the second half The modulation only touches lightly the of the piece. 0^") in g^^^^ and F-major {{^^^ keys of G-ininor, {e\ order definitely to settle in D-viinor\ and this is rendered more spicy by a two-fold introduction of the Neapolitan. =. =. sixth. ,. (^l?H=o^-2^).. The fugue. which recalls the fugue (a 2) in book, is dashed oft" in a terse, simple manner, but is rendered interesting by the chromatics of the second half of the theme, and the introduction of E-mino7- of the. the. theme. entries first). is. in. (a 3),. first. The theme. The number of real theme and only one development (the. inversion.. only seven, complete.. is. starts. upward. in. semiquaver. triplets. from. the fundamental note to the fifth, and sinks, in tlie second half, with quaver movement, from the octave down to the fundamental note..

(53) 6.. Non. PRELUDE AND FUGUE IN D-MINOR.. 43. Allegro.. poco. g^^. ^F=^. -F. /. =(*)=: (4=5). \,. dim.. The answer. is. a. strict. transposition in the. fifth;. but. followed in that the Comes enters with the harmony of the tonic, which changes in meaning to that of under-dominant. here, as in the. C^-7fii?ior fugue, the rule is so far. poco f. '—^^Ww'^ VII. (countersubject). (\. ('•). dim.. =i^fc-^ E^ ^^^m ^ V. ^^. ^. (8=1T. The countersubject here shows special character, for introduces new movement (smooth semiquavers in opposition to the triplets and quavers of the themeX Before it. the entry of the third voice a return modulation of 4 measures is inserted, commencing with 8 1, and ending with 4=1, in which the inversion of the opening theme-motive. =.

(54) SECOND FART.. 44 is. worked out. The motive of the second episode which follows first development is taken from the countersubject:. the. %--. and. fe^. -#-#-. e^fe;. may be. easily overlooked seeing that it is not the countersubject (see above). At the close of the period the bass first enters with the beginning of the Dux; after two quavers, the soprano makes an attempt to take the lead witli the inversion of the same, but leaps to the real Dux, while bass and alto continue in rivalry with each other; and from the moment in which the soprano takes possession of the octave, bass and alto (tenor?) retire ill-humored, and grumbHng, into the depths. And now the soprano does not carry the theme to an end, but insolently springs up to the octave of the fifth, repeating once more, as if in The whole passage is scorn, the chromatic progression. characteristic and clever: this. articulated as in. i^^^^^ ^^m^ (2 a). dim.. (2=1). (2 bj.

(55) 6,. PRELUDE AND FUGUE IN. 1^ i. I. DM [NOR.. .-. i. I^^^^H *;. r==. piu f. etc.. (2 c). After this possible; after restored. First fourth measure,. threefold. 2,. this rivalry,. of. a plain 4 is naturally not peace can only be gradually. a triplet of crotchets leads to the repeated with voices reversed. But at the close (4=5) the Alto enters with the Dux, and after an interval of a crotchet, the soprano follows with the Comes in a successful stretto, and finally the bass joins in with the countersubject; thereby, also, an extension of tlie after-section becomes necessary (5 a 6 a). We are still in the principal key; even the new stretto of the inversion of the theme which follows (8 1) begins in D- minor (alto: beginning with a) but, owing to the entry of the theme in the bass, starting from d (at the interval of two quavers), turns to the under- dominant (^G-minor) a modulation which however announces that the end is approaching and, in point of fact, we find ourselves already in the last, and quite unusually extended period of the whole piece! The extension is effected by means of a tossing to and fro of the theme appendage, likewise of its inversion among all three voices, so that the effect of a close is always postponed (4a, 4b, 4 c [= 5], 6, 6 a, 6 b) until finally all three voices descend in common, bringing about the end. The eighth measure is then, first of all, twice confirmed (8 a, 8 b) and the fugue finally comes to a close with another after-section in which the already described rivalry of the first stretto is once again repeated somewhat faithfully (runs in the alto and bass [inversion]; complete Dux with prolonged close in the soprano, and countersubject in the bass all. then. this is. — =. —. —. ..

(56) SECOND PART.. 4*. division is by no means dear: section must be regarded as extending to the close of the second period (before the first rivalry); the middle section then, to the end of the inversion (only one period); so that the section thus variegated in the matter of tonality {D-minor, G-mitior, B^ -major, G-niinory C-major, F-viajor, B^-major, D-minor, all intermediate keys only indeed lightly touched upon) is the closing Otherwise there remains as closing section only a one. Coda which has no independent existence.. Here the threefold. probably the. first. II.. 7-. PRELUDE AND FUGUE. IN Eb-MAJOR.. The prelude is a Gigue in sprightly ^/g time, uut without writing, and without inversion of the fugal principal motive. After a preliminary short period of 4 measures of powerful restraint, the real structure begins with lines of considerable extent,. concluding, after a period of 8 measures, in the dominant {BV -major)\ in a second, there is a half-close in C-minor (parallel), which the repeated after-section changes into a full-close. In a third period the key of B^ -minor is. touched. (^vii. (^f= d^^. —. =. ^b^^. — aV). —. P. —. V)». also. A? -major. and F-minor, and a half- close is made in the principal key {h^'^\ a period with elision of the I s^ and 5*^ measures follows on, the seventhprogression of which in the bass, if badly phrased, 'vis an unpleasant sound: ^1?'.

(57) J.. EE. gf^ =ifc. ^ n* ^. Iti. B>- MAJOR.. 47. ^^. -* !. ES. -»—»l-. P \. PRELUDE AND FUGUE. *=». s ^^. (2). C5=4!:. ^^^^^.. ^^^m. -^^. .. bt?'. ab^. eJ7^-. bl7'(4). el?-. The after-section, formed in a similar manner, concludes in A\?-7uajo?' (^b' «b^ d"?^ e'^"' «^'^), and a new period becomes still more intense, in that it changes the leaps of a seventh, by inversion, into leaps of a ninth:. ^^^^^^^^^^ —. Measiires 3 4 also close in C-minor pii<] g'i Og^^ and the after-section G-minor (parallel of the dominant)/. ^.. i^. *. Qf>9'^. = c^^'^ g'^. makes a. ^g. c^^^. half-close in. ^^Ajijll^j. i-^^.

(58) SECOND FART.. The repeated. after-section turns the half- close in a whole one. Now follows the return, with imitation of the fore -section of the 3^^ period {d^^ ^e0^. j-= ^J7G-] i\^i e^^y^ the after-section is G-inino7- into. —. —. =. —. shortened:. ^g^^^^^^^ a|>+. :!?'. bl?'. ei?^-. b|7VII(8)f'. bf?'. The half- close has a double confirmation of two measures, and then the opening period is repeated with a coda (a repeated after-section, but of three measures closepassing to the 6^^ [triplet for 5 6]), and with confirmation of two measures (7 a 8 a). The fugue (a 4), which according to Bruyck's judgment is a "pattern fugue" ("Musterfuge"), and has a "scholastic flavour" ("nach der Schule schmeckt"), and, already in the theme, "spreads an odour of double counterpoint" ("den Geruch des doppelten Kontrapunktes verbreitet"), sounds exactly as if it had originally been a vocal fugue, some song of thanksgiving and praise. The theme seems to suggest such w^ords as: "Songs, praise and thanks be to the Lord, who hath delivered us from death" (Lob, Preis und Dank sei dem Herrn, der uns erlost von dem Tod). It is given out with full power by the bass:. — —. Allegro deciso.. y. I. |. "m^^^^^^ (4). (0). —p~»=r^±= ". (8).

(59) 7.. while. PRELUDE AND FUGUE IN. E^- MAJOR.. 49. tenor, alto (with a leading-back of 2 measures, but with 8 and soprano (after an episode of 2) 2 measures, likewise with 8 2) tower one above the other with ever-increasing might. There are two changes of interval at the beginning. =. =. —. customary manner, prime fifth fifth prime {b^ ^i?); but again here, the rule applies, that the Comes must modulate from the harmony of the tonic (!) to the key of the dominant, when the Dux begins with the prime and remains in the of the answer^ ie'^. —. for,. in. answered by. ^[7) is. —. —. principal key. The countersubject, which often recurs, only shows special character (a legato slow turn) from its second. —. half:. Come?. ^. i. -»-#—!«-. il. ^^. countersubject. P^tS. {'!). (4). ^I=b=iZ_l_Ll_L==^-^^-R (•S). The. elision of the i ^^ and 5 ^^ measures in the theme 7 4; 6 8) gives to the whole fugue a somewhat sharply articulated and altogether definite character. The two insertions of 2 measures, or rather since the second (2,. 3. —. :. —. — —. measure changes meaning (8 a =^ 2) the insertion of one measure in the early developments strengthens rather than weakens this impression, since the unaccented measure which comes between the 8'^ and 2"^ cannot l)ossi])ly be taken in the sense of i^^ Between the first and the second development now appears an episode of 4 measures, in which is employed the opening motive of the after-section of the theme (likewise the opening motive Kiemaun,. Analysis of Bach's "Wohltemperirtes Clavier".. II.. a.

(60) SECOND PART.. ';o. counteisubject); it remains in the key of the that the second development can commence with the Comes (and, indeed, with dominant harmony). The second development, in comparison with the first, more concentrated, inasmuch as each pair of is voices is in stretto, first tenor and 1:)ass,. of. the. dominant so. :Bir!2. g=g^^^E|. g (2). CO). (4). ,. 1. m^^^MmM^ ('S). then (following on. immediately with elision of the measure) alto and soprano:. first. is^^s (4). (4a). (0). (8).

(61) 7.. PRELUDE AND FUGUE IN Ev-MAyOR.. ^,. This development also belongs to the first section the principal key). A real middle section with theme entries in other keys is altogether lacking to this fugue (which, therefore, is ?tot a pattern school-fugue); its place is taken by a long drawn-out episode ending with a theme entry (Dux, but beginning with the Comes step of a fourth) in the key of A? -major (under -dominant), whereupon follows immediately the closing section. This middle section includes 15 measures, of which only the first two make use of the opening motive of the countersubject; the others, on the other hand, especially from the 4^*^ measure, have a marked feature of their own, owing to a quaver figure (connected neither with the theme nor with the countersubject), which is opposed to the syncopation motive of the theme: (in. ^fe^l^-Eg: j. m. '=^m. -t=f=. -Ui^t. (4). g'K=h=^ m. :?=r=i=B#. §!fe^^E^E£a^g. F-#-F-|-. ^. ^^. |^EE^E. (4 a). 4*.

(62) SECOND PART.. 52. fcn^:. The sequence: cVH. :^^=:. g' g^ |. g^^'. (NB)=b7«. c^ c". "''. (4l). "(4). c-'5-. |. |. |. ^. (NB.). =. f. et>«. f^'. f2. I. (NB.). I. (4b) =^ ai?^. b:7'. bb2. bi7'> (NB.). =. ej?'. dl7« I. I. I. leads to the key of A^-7najor,\\\ which the tenor enters On (see above) with the theme and makes a full close. the middle of this theme entry (a reaching an a^ a^) ^c in place of ^i?^ prepared deceptive cadence c'^^ the soprano is silent', hence its re-entry with the correct Comes (similar to the preceding delivery of the theme \\\A\?-major, <?'7, but now, already, harmonised in the beginning with b^ principal key) is specially marked, and clearly calls attention. m. —. —. —. opening of the final section. Here we have only Dux) at a stretto between soprano and bass (Comes the same interval as in the second development, and an appendage of 5 measures (repeated after- section with extension of the 7^^ measure) in which the soprano sinks by degrees from ^b^ to ^b^. This fugue certainly is not a show piece of double counterpoint; since, with exception of certain forms of stretto, it contains no complications.. to the. —.

(63) #.. PRELUDE AND FUGUE IN. II.. E^- MINOR {D^- MINOR).. 53. 8.. PRELUDE AND FUGUE. IN. Eb-MINOR. (Djf. MINOR).. The pedagogic aim of the Well-tempered Clavier is a sufficient reason why Bach should have written these two pieces in D^-minor instead of E?-7iihior. In my edition of the work I have tiansposed them into ^b-w///<?/', because they are really much easier to read in that key, and do not appear to contain any special characteristic of keys with sharps (cf., on the other hand, the C^-major number of the first book). The prelude is a finely developed, specially rich, twoBoth hands are throughout equally empart Invention. ployed, and continually exchange motives. The principal thought. (measures. i. —. 4):. (4) is faithfully. after-section. carried out, partly in shortened which follows. form, in the. ^^^1 ^t^':5^^^Ệ^^ (with. the. the bewitching. most. part,. little. appended motive), and,. forming counterpoint. to. itself. for. (canonic.

(64) SECOND PART.. 54. treatment); yet the second section adds to it a new counterpoint, an arpeggio motive of somewhat hasty. movement,. 0-^—0-. ^^^^^^. m^m^. ^^^ which Bruyck calls, though scarcely with justice, a "curled, arabesque figure"; it is my opinion that the descending arpeggio forms quite a natural set-off to the close. stiff. of the. first. part:. The interesting breaking-off of the voice in the quiet intermediate passage (second period), which plays an important role in the first, as in the second section,. ig^^^^^^j^^ iSS^^^^g^gissi di?'. g?"-.

(65) S.. and. in. PRELUDE AND FUGUE IN Er -MINOR. which the passing notes. notice (but result. still. more. eb. {Dl- MINOR).. 55. and g b marked * attract same which. in the imitations of the. from sequence); deserves special notice.. The. first part modulates, first of all (already at the close of the first period), to the parallel {G^-7?iaJor), in which key the second period remains; but then, to the under-dominant B\^-jnifior, in which, with repeated closeconfirmation, it ends. The second part starts again from the principal. key {b^"^ passing through D^-?najor and G'' -major to A7-m'mor (under-dominant), and in it the voice -breaking above mentioned occasions a fresh complication:. ^^^^^^^^m gb-. cb'<. i. fb. \. On. closer examination, only the major 7 ^^ [p I?) appears strange. The rest of the piece keeps firmly to the principal key which has been easily won back from that of the under-dominant (<>^b c"?^ (t?'^ a^"* g^'-,. =. —d)?', the. ... freest. —^b+. —. —. '^. —. [=r7"i^] /^b^ O/^b) and certainly with use of chromatic harmonies (^b' [^b^y* =]. ^b^. —. The fugue (a 4) is one of the most interesting and most pensive of the whole work. The theme has the concise compass from the sub-semitone to the fifth of the key, belongs therefore to those of quiet character, neither rising, nor sinking; and yet what deep, intense expression is to. be found in this melody-movement. Not only does the alto voice begin the piece, but during its further progress appears twice with ruling power (delivery of the theme, the soprano being silent):.

(66) Sostenuto con. affetto.. •^^ r. -^..^. is giving out the Comes (which is a transposition of the Dux in the fifth), the alto, like a swan, glides quietly upwards to the dominant.. While the tenor. faithful. ^^-^^^=F^i^r^^^ may. well be characterized as sharply differentiated from the theme, leads its own life, and is nevertheless thoroughly homogeneous in mood with the theme. Among one of the. This countersubject one of perfect ideality:. numerous. errors. it. is. made by Bruyck and which. arise. from. lack of thorough knowledge of rhythmic formation, is the derivation of the motive of the countersubject, from the Quite "second member" of the theme, by diminution. e? do not apart from the fact that in the theme, d belong to one motive, only formations "by diminution" such as the following, could, at best, be derived from the same:. — —/. ^^^m^^^ On. the other hand, no one could raise any objection, if countersubject were derived from the concluding motive of the theme,. the. inversion:. in diminution:. M^^^=^=piy.

(67) S.. if. only. PREL UDE AND FUGUE IN E9- MINOR {D f MINOR.) -. such. derivation. likeness, but unlikeness,. 57. served any good purpose. Not the best thing to be recognized. is. in the countersubject.. A second countersubject, retained throughout the whole fugue, is mentioned by Bruyck, but 1 cannot disit; much rather may we say that Bach develops and fourth counterpoints to the theme and countersubject, which here and there show signs of similarity to one another in that they progress principally in semiquavers,. cover. third. or principally in quavers. I here give only those which filling- up voices to the theme and countersubject, and therefore pass by those which only accompany the theme when the countersubject is absent:. appear as. I St. Development, bass entry (Bruyck's "second countersubject")..

(68) SECOND PART.. eg. 2"^ Development, bass entry. ^ .. ^^. I. ,. a). (cf.. '-^. —. I. ^^^^. \kt±E=:,.=^. 1=. Sg; 2ncl. Development, tenor entry. i:^^J.. \^T-. ^^^^.. (alto). 2nd Development: soprano entry (Dux):.

(69) S.. J'REL UDE. Only. AND FUG UE IN. E^- MINOR {D « -MINOR).. g. q. agrees with a for the space of three is otherwise articulated). In addition to this counterpoint there is a whole series of other counterpoints from the 3'"'^ development (also indeed at the alto entry of the second, where the countersubject is absent), which, for the most part, are filling- up voices in the quasi-s\.xQ\Xos^ some indeed apart from these, yet none occurs a second time; and in a fugue so rich in entries c. crotchets (but. this. means much.. The. sections of the fugue are: the principal key: the four voice entries, alto (Dux), tenor (Comes), and after 4 leading back measures I.. in. —. 8a) bass (Dux), soprano (Comes), and still a free (5a episode of 8 measures, ending with a half- close (^b'), and reestabhshing the principal key. It is worthy of note that all the three episodes of the fugue (it has no more) are evolved from the same motives, and, indeed, from such as are derived neither from the theme nor from the countersubject- they- thus stand out prominently as independent, and appear to form a kind of intermediate theme. Compare for instance:. a.. within the. I st. development.. V. b.. between the. I st. I. and the 2 "d section..

(70) SECOND PART.. 6o. p-p=tr ii^S ^S?p. c.. ». -#=. x-=^.. ±^ME. :tc. between the 2"d and the 3rd section;. ^S^t^^^^ ^^ ^i^^VI ^Sfefc i^tfế. ^^^^eEI^. te^d-^JI. hi..

(71) 8.. PRELUDE AND FUGUE IN E^-M/NOR. [D^^MINOR).. (^^. extending to the fourth, and, with the episode, stretching The second development over to the last section). has a marked change of the theme in the first three. theme. entries. (bass,. alto,. tenor),. namely. the. trans-. of the minor second into a minor third; and indeed this transformation takes place in the bass and alto entries at the cost of the meaning of the threefold repeated opening note, while the second preserves its meaning as third of the upper-dominant.. formation of the. first. step. bass. =^^-^t. y. •. •. — r— — ^. —. »- —*- ^ i. ^. bbvil. A^ 'minor. (to. ^. Of. a'>VII el?. ^^ei?. H-. (2'). [under- dominant]). alto:. ^. fe^^J^^^^ggEl Oeb(=cb«) d>7. Gv -major. (to. a. vy ^^ ^— 1^ gb-* (to. zr. [parallel]).. ^=^=$^^5^-H. db+abvileb"^. <>eb. ab^TI. b®?. -9~i. (eb*') ^eb. A^-vtinor [under-dominant]). the tenor entry, the second note (*) becomes the theme indeed appears as if it were a displacement of the bass entry a minor third higher (in the same key of AV-mi?wr). The soprano introduces again the Dux in jEv-mi?ior, so that the principal key is restored in the middle of the modulating section (a close-confirmation of two measures, however, gives instead of the chord of £v -minor, that of ^-viajor, naturally with upper-dominant meaning). The third development commences with 8a i, and opens with a quasi-stretto between alto, tenor, and. But. in. fifth*,. =.

(72) SECOND PART.. 62. bass (the alto having the complete theme in A? -minor the tenor imitating [from /"!?] only for six quavers; the bass giving the Dux in full, but with major close [^t^' as upper-dominant of A^-Juifwr, [under - dominant]); the. soprano, after a close confirmation of one measure terminates with the theme in D?-i?imor,. :l7". (5;:=). dbVII. (8=4 a),. ab'. (so that the changing note /"t^ [^'] at the moment of the transformation of ^b' into dV^^^, and, likewise further on, the Neapolitan sixth b^97 [2^ into ^aV\ make it somewhat difficult to grasp the meaning), but also brings, at the end, ? -??ilnor, d^"' (prepared by g^^^^) instead of the chord oi so that a new close appendage of two measures alters At this point (8a=i)_the alto the close to G^ '??iajor. opens the fourth development with the theme in C?- major but as it enters on the dominant of G^-7najor, the first note of the theme, which is really a fundamental note, actually becomes seventh:. D. (8=1) gt?^ \. to. ^b. (2) 01^+. The close proceeds per inga?ino to Av- minor {cv^') which key the tenor entry of the theme, starting from (really. Dux. of d), adheres,. in the principal key, but with d? instead but exchanges it at the end for the prin-. cipal key:. »et7. ibvil. eh>. Oej?. VII. b|77.

(73) <?.. PRELUDE AND FUGUE IN. With 111.. £^- HI/NO R. (Z?3. -MINUK).. 03. concludes the second section.. this. The. final. section. in. the. above. mentioned. episode springs once more to the key of the dominant, and by long sustained dominant harmony (^/^) prepares a real last entry of the theme. The same appears first of all (as Dux in the bass) accompanied in homophonic fashion with chords given out by the three upper voices:. e!7. and. eb eb. f. eb. etc.. measure once again with display of contrapuntal means in the soprano (Dux) and tenor (in contrary motion from <^b), while alto and bass have free counterpoint: after a 2 -measure confirmation of the fourth. still. ^. h. B^. n ^^. T TT. f:. T. :::. -^T. -. ==7:. --. The close-confirmation of two measures, formed by the addition of a filling up voice, increases the number of voices to 5..

(74) SECOND PAFT,. 64. II.. 9.. PRELUDE AND FUGUE. IN. E-MAJOR.. This prelude, strictly a 3, with exception of the two sectional closes k 4— 6, is a wonderful piece of the most flowing polyphony; its principal thought, evidently related to the theme of the fugue (q. v.) stands thus:. j^j|^35=jg ^. ^. I. 8va bassa (4). ^^^^ To. fore-section succeeds an after-section in the is only a transposition of the fore-section by inversion of the two upper- voices. Here we have an instance of that direct seizing hold of the dominant key so common at the period when the fugue-style flourished, and it must not in any way be confounded with a moduthis. dominant, which. lation to the. key of the dominant;. this. indeed. is. only eff"ected.

(75) ^.. PRELUDE AND FUGUE IN E-MA/OR.. m. 65. an emphatic and detailed manner in the following \1 period, which again starts from the principal key: ế (2 a); (= 0,^ (2"d measure)^ X". _ _ _ (= (= cp^) — /S' ^j;7). .. ^6). .. ^H-. y-jj7. (6*1^. and works on. The. (^.h. b'^. .. .. \. ,. b"-. manner of the opening measure, movement divided between the voices. after the. semiquaver. with. — — ^S' — ^^S — e^ measure)^ — e^ — /#' — ^^ measure);. forms a kind of coda holding fast to the key of the first with an organ-point bass, which, however, as a new feature introduces an up and down floating quaver motive, close. —. {6a 8^:; dominant,. of. ']b. the. — 2>b\. first. section. Zc),. (6 a). taken up afterwards by the soprano, but with freer tone formation;. =. -^^^^^=f=^^^^. the second section this also plays an important This second section commences with the opening thought in B-major (but without inversion of the voices);. and. in. role.. fourth measure it makes a half-close in C^-vihwr and brings the C^-fiiinor period to a close with an after-section, the pensive character of which is determined by the waving quaver motive in the tenor: at the. (parallel),. m&. i^. -^. A. etc.. Already at the beginning of the following period the is re-established. This must be looked upon as a transformation of the second period of the first section; there is, however, no strict adherence to the Riemann, Analysis of Bach's "Wohltcmperirtes Clavier". 11. principal key.

(76) SECOND PART.. 66. motives, but, as a whole,. they. are. clearly. recognizable. semiquaver movement, alternate quaver movement etc.). The coda likewise returns, but naturally in the principal key, and considerably extended, with the principal thoughts in reversed order (the waving quaver figure comes first in the soprano and free, as in the and then only in organ-point fashion, in first section the bass); the final close of three measures over the stationary bass is a genuine accession. The fugue (a 4), like the C^- minor fugue of the advances with measured, stately gait, but it first book (diatonic. —. —. —. much shorter, and has also more unity of mood (for here we have not, as there, a contrasting motive exciting is. I cannot underone's desire for further development). stand why Bruyck feels compelled to deny that the theme is earnest and expressive; very possibly a mistaken reading of the diminution of interest. Bach is again the cause himself wrote this fugue in -/j measure; but now let the theme be compared with that of the C^-ini?ior fugue,. both with. like notation;. cresc.. (4). and:. ,fe=i-=t--F"-=?-=P=^— m^^^. zit:. I. (4). The theme of much gentler, and. the. E- major fugue. certainly appears. the same time clearer, more convincing (notice the simpler lines, the rising, and then the falling; whereas the C^-mi?ior theme, more absorbed in itself, moving round itself, appears, in contradistinction to the former, decidedly turned away from the world Beethovenish); still the relationship between brooding. —. the two. is. evident.. at. —.

(77) 9.. PRELUDE AND FUGUE IN E MAJOR.. 67. Both, certainly, could be read as a simple 3-measuie group, according to the scheme 2., 3, 4. (_ ^ ), in which case the voices following one another would each time quietly wait until the theme had come to a termination but then not only the E-7najor, but also the C^-mmor fugue would have a decidedly home-baked flavour:. —. —. and:. m. f^.|€: (4). (5. =()). \j. In the C%-7}i'mor fugue the annexed. fifth measure (J) meaning to that of sixth, and in the E-major fugue the same explanation could be given; this, however, would cause a detailed complication in comparison with which the change of meaning of measure 4 to that of 5^h appears simple and easy. Besides, in both cases, the harmonic meaning of the theme, as shown by the counterpoint, would of itself forbid that other interpretation: the choice between the two meanings. would have. is. to. not a very. change. difficult. e+. its. one:. [a«. b'] (4). e^-. [a« b. ^]. e"*.

(78) SECOiVD PART.. 68. m gjt. 'g^. [gj}']. d.. (4). [cjvii. gj{']. ogx. :. ¥. i^^^^=^^ Oa^ gS. gft'. ^gS. cft^^Sr^g? (4). At a and ^, both motives of the theme would remain on the tonic (at a all the dominant chords would fall on unaccented beats, and therefore appear only to be passing ones [cf, my catechism "Kompositionslehre, I. p. 46"]); and at ^, the same would appear at the fourth measure as suspensions, /. e. as accented changes of harmony on the tonic- at ^ and d, on the other hand, the first motive moves towards a dominant, and the second turns back and closes in the tonic. But away with proof: //le meaning which best displays the co7itents of a theme, must, of course, in the case of a master like Bach, be the most correct one! The answer of the theme, which does not modulate, gives a faithful transposition in the fifth; there was no reason for any deviation, for by an answer in the fifth the task of the Comes, viz. to modulate from the harmony of the tonic to the key of the dominant, is fully achieved. stationary. m. Comes ifip:. countersubject. The are. last. changed. two notes of the countersubject, for the rest, at their first appearance (so that the Dux.

(79) p.. PRELUDE AND FUGUE IN E-MAJOR.. ^g. may. again be able to enter on the concluding note), and indeed in a manner characteristic of Bach; for the leading note of the key of the dominant is lowered (Mixolydian) to that of dominant 7'^ {a^ instead of a^\. The. voice. third. entry,. on the other hand (Dux. alto) gives the countersubject in. the. tenor with. its. in. own. and expected close (the Mixolydian change would have turned it towards the key of the under-dominant). The second period would have ended peacefully in the key of the dominant, had not Bach once again, in the giving out of the Comes by the soprano, substituted a\. natm-al. m. a% the countersubject (alto); by that means the close effect is turned aside, and opportunity given for a close-appendage, which transforms the full close on b ^ into a half-close on b'^. At the moment in which the bass arrives for. on b. (. L^ J. ). ,. countersubject, ending:. the. the. tenor. and. once. again. more. gives. to. lays it. its. hold. of. natural. (8 a).

(80) SECOND PART.. 70. m-^^'ZUZt. 'jsr^. r. r NB.. f. m^_J^__1,^lJ. ^|zfe=J=jS ^pn. £?=S^. (8b). The annexed period, which in the repeated aftersection closes in the parallel key {CC^- minor), still really belongs to the first section of the fugue; we have in it, first of all a stretto of the theme by all the voices:. m f~f. ^m ri-fe:. T. ^. d=^=.4. i^. -^. n*. —. ^-. (4=5). 8^4).

(81) p.. PRELUDE AND FUGUE. IN E- MAJOR.. 7'. It should be noticed here how the concluding motive of the countersubject (the syncopation) itself appears in connection with the theme. The close-effect of the 8'^. measure is broken off by the e'^ and the c%^ (^jf' instead of <?')• the after-section, which thereby becomes necessary, takes up the countersubject given out by the tenor in the 8'^ measure and, with augmentation of the value of the syncopation motive carries it through all the voices (two triplets of measures):. m^E^^=^=^=^=^^m^ 9. f-. J=:J-J. (8). An appendage moment. of. one. beginning a new. (third). development. — soprano,. of voices (alto closer together, itretto;. measure {8d) changes. this. on. ^jj' into a whole close on ^^Jf, at which the alto starts with the Dux in the principal key,. half-close. this. though development. in. — tenor). bass not so. closely. belongs. to. which each pair appears pressed as in the first the modulation.

(82) SECOND PART.. 72. section, as it leads from the principal key to the parallel of the under-dominant {F^-fninor):. Soprano: Comes Alto. .. .. .. Dux Tenor: theme in Pv.'mtnor. Bass: theme (Comes) in B-major.. in. a. The tenor entry of the theme introduces the same somewhat prolonged form (one measure of ^/i, relatively triplet):. which. (with. fresh. freedom). is. employed. in. the. next. following theme entries: Soprano. ^^^=U=^^-. (from. F^-mmor. to. ^t.. C^-jninor)'.. Bass:. SsEgsJS^ifej^ (in. C^- minor).. Hence one might be tempted to count these three voice entries as a development, but for the fact that the tenor entry is connected in too direct a manner with the preceding bass entry; it forms, besides, the close of a period and is formally separated from what follows by a close - appendage (cadence /J(^", ^^^4* t ^^ft)It will therefore be more correct to look upon this soprano and.

(83) p.. bass. entry. PRELUDE AND FUGUE IN E-MAJOR.. as. forming an. incomplete. fifth. 73. development.. The middle section is here at an end^ at least the principal key now reappears (already on the close in C^ -minor, disturbing the same) and indeed directly with the theme diminution, which now runs through all four voices (not confining itself to fixed degrees of the scale); for the moment the time measure will be better indicated by 2/2 instead of ^/gi in. The period. is brought to an end by a close-cadence ^^^ o^ *^s l^st note (by means of a deceptive progression of the bass: ^ ^j}) a new (seventh) development sets in, a stretto of the original Dux with the theme in. (^. V. —. 7^^)». —. diminution, and the latter in inversion (free):. ns^^. {^).

(84) SECOND PART.. 74. Also the rest of this period, which closes in G^-mitwr dominant) and has an appendage (cadence) of two measures, consists of a working of the theme in inversion and in diminution: (parallel of the. ¥X^=X. ^ -4— J—, (4). ^^. 4. V. ^. i li (8). But the coda forms the principal display, an 8'*^ development, a two-fold, likewise three-fold ingenious stretto of the Comes, Dux, inverted diminished theme and counter-subject in the principal key: T. inv. dim.. Cp.. k. r. ^•f.. T. ^^E±. D.. i^^. -G-.

(85) p.. -H. PRELUDE AND FUGUE IN K MAJOR.. 75.

(86) SECOND PART,. 76. II.. lO.. PRELUDE AND FUGUE A. IN E- MINOR.. long drawn-out prelude a 2 (with two and an equally flowing, and likewise very long fugue, both certainly conceived the one for the other. flowing,. repeats). The. principal thought of the prelude. is:. Poco vivace e leggiermente.. ^^^mm^^%. :l3^Ef^-E. (4). This imitation,. is. now. spun out. feminine ending of the form,. in. an ingenious. in free contrapuntal style.. when opposed. first. fashion,. The. now. in. characteristic. motive appears in lengthened first and second. to the shakes in the. parts. ^^M^^m^^m M .-^-l-^. etc.. Of itation,. special interest is the following modulating imwhich appears transposed in the second part:. (under voice gva bassa.).

(87) 10.. PRELUDE AND FUGUE IN. E- MINOR.. 77. -\=%-=^-=r, -isij. i. ^. In the coda of the first part (after the shake) the principal motive (inverted) is ah-eady worked in imitation:. e^. \^^A^^.. The beginning of the second part, however, duces the complete inversion with feminine ending:. intro-. and the same is worked in a new and interesting manner (first in groups of 3 measures /— 2, 2 a; 3 4 (^5) Also the following formations are naturally 6\ 6a, 7 8). evolved from the principal motive.. —. —. <. etc.. :|^^;=:^. '. The turns to. order of modulation. G-major. it. is. simple.. The. V 8va first. period. and to B-minor (minor uppermakes a half-close; the second. (parallel),. dominant) in which. 'mmmt^mim^A. 8Va. '. '.

(88) SECOND PAR T,. 78. period returns by the same road to E-muior. pushes on in sequential form through E-minor F\-minor (in which the c'^ should be noticed). G\-mhior (^^). — /j(',. first. The. third. — — E-major^ D-?tiaJor,. holds fast to the half-close. B-minor (shake on /j}), then changes to E-fnmor (shake on b), but in the coda makes an elaborate cadence in. in. _ oyjj.yjix^ _ _ — Vij). The second — /S'/J(9>. B-minor, (^vii. VS» ^^". _ /j*7 _. ^j}7. part. begins. B-mmor, and in the first period passes through E-?}iinor, G' major A-mhior to E- major; in the second, through. in. i. A-mi?wr, Z> -minor (= f^) to C- major; while the third remains firmly in A-minor (cadence). The fourth is formed from the first of the second part, and is in G-7najor (^vii^^7)^ E-minor and again G-major. Period 5 repeats F'^- minor the "pushing on" of the first part \D-major E-minor^, further the shake-coda (on h and c), \c t|] e^^^ and firmly establishes the principal key by transposition. —. —. of the first part in the 4''^, with a further close-confirmation {8a 6a, y 6, ^a 8). The fugue (a 3) is one of the most simple, in so far as it only shows three developments, each one of which forms the chief substance of one of the three self- intelligible sections of the fugue: exposition, (modulating) middle section, concluding section. The first three entries give Dux Comes Dux in immediate succession (without episodes) so that the theme is kept within clear and unmistakable limits^ in the later ones episodes of greatei The theme consists of 6 meaor less extent are inserted. sures, and, indeed, it begins with a fore-section of only 2 measures (3 4), whereas the after-section is complete:. =^ —. —. —. —. —. —. Giojoso vivace.. '^^^. _». ^ES m-^—0-^. *--=^ mf.

(89) PRELUDE AXD FUGUE IN E-MINOR. 10.. ^. fi'^. 79. (8). As the theme does not modulate, the change to the dommant falls to the Comes, and this is accomplished h^^^ already m the first three notes {b c\ ^ /^ ^f%\ the whole Comes is therefore again a transposition. —. =. —. Dux. which the countersubject is employed in this fugue, presents features which are specially instructive. Its original form is: in the fifth of the. The mode. in. e. :|^^^= (8). Although the same only returns once in exactly the. same form. (alto. entry. of the theme in. the. 3''^. devel-. accompanied the theme to the end. For Bach divides it in an infinite variety of ways between two voices, as can be seen by opment), yet the effect. the following synopsis:. is. as. if. it. faithfully.

(90) SECOND PART.. 8o. development, bass entry.. St. -#. i^^i^. —#- :ii^—^^-:^ H-i. A. i»—»-*i— ^—.«-. t^f^^r¥. P^iiP. I. f+). m^-wm^M!^. I— 1^-. =-i-. (6). fr^fKE^^. I. (8). 2nd development, soprano. entry.. (*). i (6). ^i^^^S^E^^dE^^ B^^ =1. (8).

(91) w PRELUDE AND FUGUE IN E-MINOR. The. 8i. same, alto entry;. ^^^^^^s^ (soprano). (bass). (1). :gii^^^'^EJ^g (soprano). I—. ^f^^^E^l-f (S). The same,. bass entry;. 1. 1=^^. >. ^^^^^^m, (4). i^^^^ ^=^'|7. U (6). :i-=:. (8). Rieraann, Analysis of Bach's "Wohltemperiites. \^ lo. Clavier".. II.. A. !.

(92) SECOND PART.. g2. 3 Development, soprano entry.. rS^^^S. I. •—^-. jfe. i. if. (4). TJi-^-. ^. 35. l|3. ^^ (C). IS). 3. Development, bass. entry.. -O S^^=i^. :i= ES^S^^^. (4). j^^^L§^^1^33^ i<i).

(93) to.. We is. PRELUDE AND FUGUE IN E-MINOR.. 83. see that almost the whole contrapuntal apparatus countersubject, likewise with its. concerned with the. various sections.. The structure of the fugue needs no further explanation. There are no strettos, or other canonic devices, and the order of keys is the simplest possible, yet especially rich and variegated. l^^ development:. Soprano (Dux in E- minor), alto (Comes in B(Dux in E-niinor)\ episode ^with 8 2j, modulates in the fore-section to the parallel G-inajor ^H-)^ and firmly establishes the ^^vii j-^ ^6j ^7. =. minor), bass. —. —. — — g^).. — —. same in the after-section {c^' d'' ^"", c^ d"^ At the eighth measure with 8 3 begins the. =. 2 «^ develop7ne7it:. Soprano (Dux in G-fnaJor), alto (Comes in Dmajor), and after a somewhat lengthy episode which opens with 8=1, and in its fore-section modulates, passing through E-minor {d ^^ =b'^), to B- minor. —. VII. (b v-* -— ^ji?. —. /ii'),. and. in. its. after-section, estab-. — the. bass with the theme in B-minor on account of the long episode similar to the fust, this theme entry were to be reckoned as belonsinsr Tas Comes) to the concluding section, then the seconu development would be incomplete, and the third, redundant. The now lishes that. 8 r=. (with. key. 3).. If,. following. Episode of only four measures (after-section with. 8. = 5). key. returns in the simplest fashion to the principal ^vuj| (^Doric sixth) b'^ ^b).. (/^^^i. =. —. 6«.

(94) SECOND PART.. 84. j^^. development'.. Alto (Dux in E-minor)\ and after an episode of foui ^e\ ^' d^\ measures in sequential form (^' c'''\ e'^ ) soprano with the theme d'^ g^\ ^' An extended closein A-mi7ior (under-dominant 1). appendage of five measures (episode) returns to ^b), and makes a half- close b'^ E-minor {e^^^ ^', e^^ with pause on the dominant (/J' <^')The voices now vie, as it b%* f\^* were, with one another as to which shall re-introduce the theme, for all successively attempt the diatonic. —. —. —. —. —. —. —. —. —. —. —. run:. ::^. bass. After the delivery of the. Dux. in the. bass {E-vi'uwr\. and a coda of free rhythmical disposition, there follows Sa, with 8^=6\ and then an an unfinished cadence {ya organ-point of three measures over B^ from which the. —. plunges downward to D%\ the soprano, forced upwards during the organ-point, likewise falls to d'^% (with appoggiatura and pause); and a new cadence of three measures leads to the end of the piece. This fugue may be recommended as a model for. bass. study and for imitation..

(95) 11.. PRELUDE AND FUGUE IN F-MAJOk.. II.. 85. II.. PRELUDE AND FUGUE. IN F-MAJOR.. A stately, vigorous, fully developed prelude, a masterpiece of legato style (for the most part in strict writing, a 5, and hence, an excellent practising-piece); and, by way of contrast, a fugue, with a tinge of humour finely pointed, yet without any parade of learning. The principal motive of the prelude is a rolling quaver movement, after the manner of a turn, which runs through the voices from the beginning to the end; this figure brings about continued quaver movement, and a flowing style of melody in the piece, which, for the rest, is conceived in a thoroughly harmonic spirit. It is scarcely necessary to say that. it. is. written in organ style:. Allegro, coil forza..

(96) SECOND PART.. 86. The especially regular structure of this prelude is 2 periods of eight measures, repeated four remarkable: times, almost note for note, but, naturally, the second and third time, not in the principal key, but in the dominant and parallel keys, and without any disturbance of the symmetry (elisions, changes of meaning); yes, even without any close-confirmation, a thing rarely to be found in Bach, except in his dance pieces. After the third presentation of the theme (in the parallel key), a complete 8 -measure period is inserted, leading from the parallel of the dominant, through the parallel, back to the principal key; and it is. —. distinguished from the other eight periods by the introduction of a new motive in crotchets (which, however, is combined with the rolling quaver motive):. t)-r.

(97) 11.. PRELUDE AND FUGUE IN. :2^. -V—. 0-. -5^ 6. f. period: dominant. —. ^ZX=T. ^:^^. i^iEi3EEf=J^^ (2) f«. g'. c+. rf»'. (4j. gi'. +. 1^. —^3. S^^^: t^ dVll. c-. parallel.. \t. i. g'. (ij. gi g^-j=ii^3 P^ — 4'h. 8?. >=^. b;'. y^. F- MAJOR.. Jit. a'. ESS^. Oa(=f«). :l^. g'. (8) c^. I. :t!^. i^z. :t. (half-close). mp. :??:. ©a. t=:t:. g^Stfe^. dVII. dVii. (^Sj. a».

(98) SECOND PART.. 3g gth. — 6*^. —. period: parallel. (2) dVII. parallel of the dominant.. Oa. a7. ^IX<. (4). c^. S^^^^^i^^l dVII. Oa. a7. i& ^ f^. c'. a'. rJ. g-. ..(«). bt7». (8). Oa [2^] dVll(=bt7«) (2). «a. (4) c'. f^-. ip^^^^^ g'. 7th period: parallel of the. Oe (2>) aVII (=f«). ^. -^. (i?-. (=0e) aVn. 6. c+. t. :g-^-::z^:. gE. dominant. —. (8). e7. parallel.. ^ g>;^_^. 1=f:. w. (fe^r. r. a''. «; 2>. "a. 5>. 1^ I. (-1). ^-. :p==1 .. ^^3 t=^t: ^S". .*".. •. lai. (8). ar. :*:. 7..

(99) 11.. gth. — gth. m. PRELUDE AND FUGUE IN F-MAJOR.. period: principal key (touching the under-dominant).. a:. .(2_. 7S^— |7dzi:tz:dz=:. Oa(=f^-). ii. bl7» c'. ^'. f^-. c§>. (4). SJ-. gVII. od. d'. ^2=^. .. -P2-. 7^. (bh. <g-. -^. bb". 8. 1. eb^. "^. -. |7. ::. 3^. ?G. bb-"-. gn. f-t. p—. f». «. f'. (8). ^—S^ -^. (4). 3^i. -. bb«. fi-. 6. bb« c'. (8). f+. The theme. of the fugue (k 3) shoots up from the tonic, the fifth and sixth, runs on to the octave, and then sinks gracefully back to the fundamental note: first. to. Allegretto grazioso.. ^^^^^^^^. ['. fy-h-^J=^^. (2). f+. bb«. c'. (4). £». bb'.

(100) SECOND PART.. 90. As it does not modulate, the answer must modulate, and, indeed, from the tonic; hence the well-known transformation of the opening step of the fifth (f—c) into one of a fourth {c—f)\ the rest is then free transposition in the fifth:. c'. r^. c''. fM^f^)g'. c-"-. f«. g». c^. The theme. of this fugue has no real countersubject counterpoint), yet the absence of such is This, on the one hand, may be scarcely noticeable. accounted for by the fact that the theme itself is so dehcately developed, so sharply articulated, that it can scarcely endure by its side a second important figure; it must be left wholly undisturbed, and, so to speak, rule in homophonic fashion; on the other hand, it must not be ignored that the counterpoints to the various theme entries The characteristic feature of the are, in a measure, akin. counterpoint to the Comes is, namely, an almost coquettish resistance (and also yielding I) to the upward-stretching (principal. steps of the. first. two theme members:. (6). (8). should be noticed that in this countersubject the of a fifth and a fourth (apart from the closing motive) are opposed to those of the theme, in rhythmical inversion (the high note unaccented, the low, accented); this peculiarity will be found more or less in the other It. steps. counterpoints, for example:.

(101) PRELUDE AND FUGUE IN. 11.. I St. F- MAJOR.. 9'. Development, bass entry;. #.. ^^^ (8). Reduiidaiit Bass entry:. W. (2). 2nd Development, tenor entry:. 1^. i. (2). (4). Bass entry:. .^0^^^^M& (6). And now, episodes. and. in final. all. ends. closes,. (8). and corners, even further reminiscent. in. the. sounds. be heard. At times there certainly is little art in adhering to a counterpoint capable of inversion (/. e. to. will. first Comes)! With regard to the structure of the fugue in its chief outlines, it must, first of all, be noticed, that there is no real middle development with the theme entries in the dominant or parallel; and that the two theme entries which we have pointed out as belonging to the second development, really belong ali-eady to the closing section, a specially. that of the. long one: the. first. of these (tenor). is,. namely, the. Dux. in.

(102) SECOND FART.. 9« its. original form, but harmonised, in an extremely clever in D-minor-^ but the second (bass) stands in the key. manner,. of the under-dominant, and enters after an organ -point on /, /. e. the end of the fugue is announced. The middle (modulating) section consists rather of a specially long spun out episode which runs through the keys of C-major. (dominant), V-minor (parallel) A-mi?ior, D-minor, G-mifior, D-minor^F'tnajor (principal key), C-major, F-major, C-?ninor, G-minor, D-minor, and which is based principally on the second half of the theme, whereby, at times, it seems as The first were being worked in stretto. if the theme section includes then not only all the three voices (soprano [Dux], tenor [Comes], and, after an episode of six measures [t 5, bass [Dux]), but also, after 4, 3a— 4a] with 4a 8a\ the second bass three measures of episode {6a presentation of the theme (Comes), which gives to the fugue the appearance of being a 4, likewise the four free measures closing the period, and establishing in a detailed manner, the key of the dominant. The concluding section begins then with the tenor entry of the Dux:. —. =. —. i^m. ^. ^^M=p=^-. bb^. (!') blj". m-. (•). 1^-^. 1r-l f+. t^. h|7« c'. likewise, there is a struggle around the prinThen follows a somewhat lengthy episode, key. /I 1. which turns quickly to the under- dominant {b\^^ ^>+ e^^ [organ-point on/]), further the bass entry of. in which,. cipal. —. f.

(103) it.. PRELUDE AND FUGUE IN F-MAJOR.. 93. the Dux in B?-fnajor, after which, with Hght touching on the key of F-??iinor, a turn towards the organ-point on ^, 8 measures ^(from the 7^^ to 8'^ the bass descends through [g'"'] to the lower octave). At the repetition of 7 8 the. D. —. =. soprano (8 i) introduces the Dux, but with d"? in the second motive, causing thereby a special effect. With this the development is rendered complete; but even here the bass is determined to have the last word, and it enters indeed with the Dux (beginning with F), but, attacks the fourth, and now the fourth -progression, so far, that it is at last able to introduce the second half not in its primitive simplicity, but exof the theme tended by means of repetitions. This is a specially genial idea of the master's, and thoroughly in keeping with the humoristic nature of this fuo^ue.. instead. of. the. climbs. up. by degrees with. fifth. first. —. 9-i= (6a). (6). ». .. .. .. .. ^^^ i^lH^^.=^=^=s=(8). •. 5. *. •. («). •. •. •. #•. _,. (8).

(104) SECOND PART.. 94. II.. 12.. PRELUDE AND FUGUE. IN F- MINOR.. These are, perhaps, two of the pieces of the Welltempered Clavier most easy to understarxd, and, even to those still entirely unacquainted with Bach, most directly attractive-, hence they are specially suitable as an introduction to the work. The prelude, throughout,. is strictly a 3, but entirely complicated polyphonic formations (iminversions, exchange of voices, etc.), itations, strettos, and, from beginning to end, leaves to the upper voice the conduct of the melody; thus far, it is decidedly. refrains. from. all. homophonic. Of special regularity, also, is the metrical structure, inasmuch as the strictest symmetry of the group of two measures is preserved, and after each set of four measures, a marked cesura is felt (only once do two measures stand alone, by which, however, the order yj of the group of two measures, naturally, is not disturbed). The piece, however, would be only half understood, if each pair of groups of two measures were looked upon as forming a half- section, and two of these half- sections Before all, it should be noticed as forming a period.. _. that Bach, immediately after the first half-section, pauses; and, by the form of structure, and certainly by the degree. of tone {p)y introduces an insertion of contrasting character. (3a— 4a, 3b— 4b). Allegretto, molto espressivo.

(105) 12.. PRELUDE AND FUGUE IN F-MINOR.. 95. NB.!. (4 a). The after -section to the first four measures commences when the opening motive is taken up. really again,. and it ends, indeed, in the parallel key {A? -major). But as the melody advances to the third (r), and as the two groups of two measures (5 6, 7 8) resemble each other strongly, are, in fact, almost sequential in form (cf. the bass), an intensified repetition of the after section, changing the whole close in the parallel key into a half-close (on e^^'\ appears necessary; on this Bach dwells, as he did with the one on <:"" in the fourth measure, by means of an insertion of four measures imitated from the first one {jb 8b, yc 8c). Before the close of the first part there is still a complete phrase of eight measures, the motives of which, however, only appear in the upper voice; and, even there, are only new in the fore-section:. —. —. —. —. i^^^ The. lower voices here. move. after the. manner of. the. opening measures, but with syncopation instead of note repetition: instead of:. ^*«^.

(106) SECOND PART.. 9«. The the. after-section. is. —. developed from the motives of. insertion {3 a 40), The second part of the piece (both are repeated) be-. first. gins with the principal thought in A'^ -major, and concludes, at the fourth measure, with the dominant of the parallel key. An insertion of four measures, similar to [EV-major). the one in the first period, but with the figuration motive in the lower voice and with legato conduct of the uppervoices, displaces the cadence from E? -major to BV -minor {4 a) and E\?-mmor {4 b), while the after -section presents itself clearly in Ei? -minor (key of the under- dominant), with EV-tninor as under-dominant {b^^^^)\ the motives of this after-section will clearly be recognized as figuration of the principal motive:. instead of:. }13.. .b«-. :a^:. __^.. nx -Jt^. •^^-. sy The key. not, however, stand in the principal key to permit of a dwelling in it; Bach does not, therefore, further inserintroduce here as in the first section tions, but a new period, which changes the meaning of B\>-minor to d^^, and, passing through A^-7najor and. of B9-?ninor does. close. sufficiently. relationship. to. —. D^- major (^1^1. -«. =. to. ^7)^. —. Ev-tnajor. makes a. (d^^^. =. ^b'). and. of the period are evolved from the thought, but presented in richer melodic form:. motives. i. **. and. The. principal. £^ ^^. The period which now cipal motive,. F- minor. half-close in the principal key.. follows brings. back the. prin-. in clearer form, in the lower voices,.

(107) ta.. PRELUDE AND FUGUE IN F-MINOR.. 97. but spreads out in sequential form, and leads at the fourth measure to the half-close on /', which, by means of two insertions each of two measures (as in the first period, but with substitution of scale- for chord -figuration),. turned back to the principal key (^/=/^^^)' The afterup again the principal motive in its original form, ends with a deceptive cadence (r' ^c^"), corrected 8 a) measures of the intercalated first of all by two (7 a motive (the only group of two measures standing alone is. section, taking. —. in the piece), instead of:. ^^^^^m^^ etc.. ^. fcric^: is=p. whereupon the transposition of the concluding period of the. first. part rounds. off. the. piece in the principal key.. Whether or not the motives of the upper voice of period spring from the principal motive Riemann, Analysis of Bach's "Wohltemperirtes Clavier'. this.

(108) SECOND FART.. 98. '. A. etc.. may remain undecided. In any case, consistency and proportion evidently rule the piece throughout The fugue (a 3) is of bewitching grace and heartwinning loveliness. The motives which are annexed to the theme give to it a contemplative character of quite a peculiar kind (cf. the G^-minor fugue of the first book): Andantino grazioso, con amabilita.. m. The fact should not be overlooked that the compass of the melody keeps to the triad position with upper and under second,* (Part. I,. p.. 72).. son of Karl Klauser, has just forwarded a work: "The Septonate" (Rohlfing & 0°-, Milwaukee), in which he presents, not the octave scale, but, as in Draseke's Heptachord, a scale of seven notes as melodic basis (hence the terribly barbarous word "Septonate" which Klauser [horribile dic(n!] derives from septem, tonus and naiurd)^ not extending, *). Julius Klauser,. theoretical. ^.

(109) t2.. PRELUDE AND FUGUE IN F-MINOR.. gg. As the Dux does not modulate, the Comes has to modulate from the harmony of the tonic to the dominant, c\ for the rest the Comes /. c e. to answer f with. f—. —. is. a transposition of the. Dux. in the. fiftli.. however, from the sub-semitone to the upper sixth, but from the under -fourth to the upper - fourth so that the tonic appears as centre (hence the sub-title "System of centralisation"): ,. ^1 Klauser's idea deserves attention, although he himself quite overvahies its importance. It can serve as a scheme for all melodies lying within plagal limits (cf. for example, the theme of the i5 major fugue of the first book), just as Draseke's Heptachord is available for those lying within authentic limits. But one error of Klauser's. I. cannot leave unnoticed: both tetrachords. (c. d e f and. of the C- major scale appear to him equal in formation and in value i. e. Klauser, when he rises to y, feels that y" as a terminus, and therefore mistakes the importance of the under-dominant. With him the third, ^ plays, a quite subordinate I'ole in comparison If this view, based on the stand-point of the with the fourth,/. old Greeks (/. e. without conception of the third), be rectified, some use may be made of Klauser's ideas towards the recognition of the essence of melodic formation. I do not hesitate to acknowledge that my declaration "that passing beyond the sixth of the key means a transition to another octave position" is, as a rule, only tenable for melodies within authentic limits; and I ack.iowledge, indeed, that. g a b. c). ,. a plain melodic formation working round the tonic, is possible in a plagal position, without the impression of soaring upwards, or sinking downwards. Indeed, there is, perhaps, still a third melodic fundamental position, viz. one grouped around the fifth;. :(?):. but which need not necessarily keep within the limits of the compass of a seventh, as, neither above nor below is there contact with a semitone {Draseke's Heptachord ends above on the sixth, because the seventh leads to the octave; Klauser's He]:>tachord ends below with the fifth (g), because the fourth (f) leads to the third). In other words: The three triad positions can each be taken as a basis for melody, and the neighbouring degrees. —.

(110) SECOND PART.. jQQ. With regard to the countersubject this fugue is again highly instructive, in so far as a counterpoint keeping faithfully to the same notes cannot be shown, although the general character is preserved, with manifold modifications and subdivision among the voices. The natural quavermoving countersubject to the first half of the theme consists of the spinning out of the semiquaver movement of the first half of the theme; and when the latter passes to semiquaver movement, the countersubject adopts quavers:. ^^m. s^ h§--^^^-ii ^_. -&. —. J^. h. '^^S-. tei'^. ~f^=^. a-n^. *. (8). !. "'. ' I. in. ^. each direction be admitted, in so far as the same are not notes away from the position:. leading I. with prime as centre.. 2 with third as centre.. -_^_s-. m=^=^ f. (Klauser). I. (Draeseke). 3 with fifth as centre.. (Riemann). For No. 3 half), 11,. 13.. cf.. the themes. of the. fugues. I,. 2,. 13,. 21. (first.

(111) la.. PRELUDE AND FUGUE IN F- MINOR.. lOI. we. at once add that the semiquaver movement and one in quavers (compare theme and counterpoint) pass from scale to chord form without the motives be* coming indistinct (as their character rests far more on the If. also the. long feminine endings, likewise appended motives), we have then shown the whole of the motive material of the fugue; for all the episodes are developed from the same motives,and preserve, ahnost without exception, the feminine endings and appended motives. It is astonishing that the fugue, nevertheless, does not appear monotonous; rather, on that very account, does it pursue its smooth course undisturbed. The construction is simple: 1^' sectio?i (exposition in the principal key), including the three voice entries; soprano (Dux), alto (Comes), and, after an episode of four measures with (4=5), bass (Dux); further a close-confirmation of two measures \ja 8a). Whether the episode of 8 measures entering with 8a=i is to be counted as belonging to the first or second section is a matter of indifference, since it appears as a real inter-. —. mediate member between two developments; it modulates to the parallel key {A^-7?tajo?') making in it. a half-close, whereupon the 2"^ (modulation) sectio?i presents. itself. with. a. second development in the key of A^-7najor\ but the same is incomplete, as the theme only appears in the soprano (Dux in A?-7JiaJor) and in the immediately following alto (Comes from A];? -major to E7-inajor)\. by. g"^. being. the close of the Comes is frustrated substituted for ^i?'^; and there now. follows a new episode of 8 measures modulating ^t76) and to through C-7fimor to E? -major (<:Vii C-7najor {a^^=^c^^^), and closing formally in the Therewith the modulating section comes latter key. to an end, and we approach the 3"^ co7icluditig section, which is as long as the other two together. It opens with a delivery of the Dux (in F-mifior) by the bass voice; an appendage 4 a) removes first of all the close from F-77iinor (3 a to B^-77ii7ior, whereupon the rest of the period (the after-section) is filled out with an episode which makes a half-close on c^. Now the theme is like-. =. —.

(112) SECOND PART. wise taken, Up by the alto (tenor), with a deceptive cadence at the fourth measure, extending into the '^^^^ afterfifth ( 5), d^'^ changing its meaning to VAfter the is most remarkable. measure we have the second under -dominant (^t^vii), and an extension of the closing group to three measures (triplet of measures 6 8); also, section which follows sixth. —. passing through /',. however,. as. under-dominant. feeling of close. to the. a close in. A. return. is. J3V-i/ii?ior,. which,. can create no real therefore at once made. upper-dominr nt (8=3), whereupon a new. section, again with triplet for 6. —. after-. closes in F-minor. On both occasions at the triplet of measures the bass makes, as it were, fruitless endeavours to lay hold 8,. of the theme:. (6)T. -. ^^. :. "^^^^^^^mM (6). \^. ^. :§|fc^^g||^j^ (8).

(113) ij.. PREL UDE AND FUG UE hV. F'^- MAJOR.. j. q^. There is still the addition of a coda, which first of calms down the mood by means of an episode of 8 measures (with half close on/'' at the end^ then ccmes Dux in B"?- minor in the soprano and, with 4=5, the same, immediately afterwards, in the alto; and finally (with 8=1), still another postlude of 8 measures over an organ -point on C imitated from the first episode, from which, only at the 8^^ measure, the bass moves to F, all. II.. 13.. PRELUDE AND FUGUE. IN FS-MAJOR.. The prelude by chords, mood and. (apart from the last measures strengthened a 2) is a richly developed piece, in structure most akin, perhaps, to the C^- minor strictly. prelude of this second book, but brighter, of greater vigour, and, in the alternate play of two thematic formations, especially charming. quietly progressing dotted rhythm runs through the piece like a chain, in place of the usual foundation of smooth crotchets or quavers (cf. for instance I. 6, 11, 13, 21, 23; 11. 2, 15, 20 etc.). The opening is formed, first of all, by a pithy, somewhat pathetic little period,. A. a). m. Non. Allegro, sempre niarcato. /. |\. *• s. „_,^^. C^. <-^'. '^. I.

(114) I. SECOND PART.. ©4. ^l^i^JE*^! but the fourth measure, changing its meaning to that of fifth, is followed immediately by a contrasting aftersection of evidently tenderer meaning: a gende creeper, Notice should be taken an ornamental accessary part. of the dotted rhythm of the under voice, which thereby acquires new meaning, in that the intermittent pressing forward gives place to a delicate up and down swinging. movement: b). '«>t. ^^^^^m^ The second period which at once follows (with 8*^i, and re-entry of the forte) introduces a clever measure working of the material already mentioned. First of all the under voice takes the lead, drawing attention to itself by the "slide" (Schleifer)ofthe first theme-member, and spreads out into a cadence (proceeding from the dominant back to the principal key, ^j}^ fV'\ ^^t then through G% minor smd A^ minor, again setthng finally in the dominant. =. —.

(115) fj.. PRELUDE AND FUGUE IN. F\-. MAJOR.. 105. c). 11^=^^^ SS. ¥^»-. r#. '^^m. -0 ^. while the upper voice spins out its opposing figuration. The renewed pushing upwards of the bass, after the manner of. a sequence, gives the impression of a close- displacement 4a), but opens up into an after-section with 4a=5, which in both voices develops the principal motive (slide [Schleifer], dotted rhythm, and long notes), and which, to be properly understood, must be given with dynamic contrast (/ instead of /"):. {ja. —. ^^. -0--. i^mk «». ?8T. o. (6). Ad^. ^^^. The first close is feminine (with annexed motive), and leads in the bass to the third:.

(116) [o6. SECOND PART.. therefore receives a close -confirmation of two measures. first section. On the concluding value {8 a), the principal thought reappears in the key of the dominant (with 8a=i), introducing the second (moduFor this the upper voice, in place of lation) section. the dotted rhythm, takes the arabesque motive of the second theme-member- the after-section enters with 4=5, but requires no dynamic contrast, because both voices make exchange of their themes (principal thought in the The fore-section turns to the principal upper voice).. it. Therewith ends the. key, the after-section to the under-dominant. A second period next reproduces the second theme-member [U) in B-major closing at the 4*^ measure in the principal key; the after-section exchanges the voice roles (the upper voice with little shakes by way of ornament) and closes in the dominant key. A third period (which enters without change of meaning) leads, as one would expect, to the parallel key D^-nwior, and, indeed, by means of a transformation of the second period of the first part {c). It is, in fact, astonishing, how faithfully Bach adheres to his themes, and how, by wrapping the one in the drapery of the other, he procures new situations: tr. instead of:.

(117) tj.. The. PRELUDE AND FUGUE IN FV MAJOR.. 107. key (half close on ^if"*") is already the fourth measure, and the twice repeated after-section (entering without change of meaning) adheres firmly to the same, again (8^=4) making half-closes on the first two 8"i measures, but finally opening out into a formal cadence. The motive material in these periods, also in those which follow, is altogether the same as that which reached. parallel. at. has been shown up to now. The period directly joining on modulates through the parallel of the under -dominant i^C^- minor) back to C^- major the dominant i^a^ </#'. -. »</Jt-,. ^i'. -. c%-. -/#». - ^1' -. —. c\*)-. there,. upon follows a Mixolydian episode (^|') of 4 measures and, finally, the conclusion in the principal key, which, in fairly faithful manner reproduces the first two periods of the piece, but naturally avoids the modulation to the upper-dominant. Bach, therefore, passes over the aftersection of the first period (/>), which he reserves as coda, though extended to a complete period. Thus the whole is rounded oft' in pleasant fashion. The fugue (a 3) does not stand, perhaps, in immediate relationship to the prelude, but agrees well with it; and its various parts are closely knit together. The theme opens energetically with a shake on the leading- note, imitates this cadence twice, in the manner of a sequence, and closes, after a digression, on the third of the tonic The harmonic sense (the subsequent treatment being taken as standard) is as follows: Sostenuto. It is. ma. risoluto.. therefore specially rich in modulation, and descends to the first, rises again to the. second under-dominant, then, over the.

(118) io8. SECOND PART.. prncipal key. The Comes is the faithful transposition in Any attempt to shape the Comes otherthe upper-fifth. wise, according to real or imaginary laws, leads to insurc^ of mountable hindrances. If, for instance, the f^ the second (?) measure be answered by c^ /^, that. —. could only be done. at the cost. —. of the second motive:. The arrangement at b would omit the harmonic progression from the first to the second motive, and yet not effect the modulation from the harmony of the tonic to the dominant. In order thoroughly to grasp the correctness of Bach's mode of reply, one must get a clear idea of the original form, the ornamental transformation of which serves as theme:. The sequential formation cannot be ignored, and will allow of no disturbance. For the rest, the requirement which we recognise as binding, viz. that the Comes ought to modulate from the (tonic of the) principal key to the dominant, is fulfilled an ideal manner, inasmuch as its first note effects this modulation (^J(' turns /^ into under-dominant); yes, one can go so far as to assert that the shake may be first of all an ornament of ^j}, and then become an ornament in. of*|: f|C)-gi?'. --^=T-. c|-.

(119) <?.. PRELUDE AND FUGUE IN. F^.-. MAO OR.. 109. But, above all, we again emphasize the fact, that in the formation of the Comes, the greatest similarity to the. theme,. and not. dissimilarity,. is. the. chief point. to. be. observed.. The countersubject which is retained throughout the fugue, and out of which grow nearly all the episodes, has a striking likeness to the theme of the F- minor prelude of the second book: Comes. countersubject. The. similarity. becomes. specially. noticeable in. the. two great episodes at the commencement, and at the end of the modulation section, both of which are framed in the homophonic style of the F-ini?ior prelude, and like it alternate between parallel 3''^^ and parallel 6*^^ (undervoice with counterpoint in quavers):. ^m. m.

(120) SECOND PART.. no. Of course this similarity cannot detract from the value of the piece, especially as it, probably, cannot be determined whether Bach wrote that prelude, or this fugue first. The opening section of the fugue .in the principal keyj embraces, first of all, the entries of the three voices in the order alto (Dux), soprano (Comes), bass (Dux), which follow one another directly (without insertions or without change of meaning), and together form a threemember period (after-section repeated); and further, an episode of 8 measures, which consists of the following 2 -measure group repeated four times with transposition and exchange of voices:. —. ^—0-. life. V^-. 9—Ti-. (2). The. {a) is evidently derived from the of the theme; the second {U) from the close of the countersubject, or from the commencement of the theme which has a similar sound; the third {c) They from the principal motive of the countersubject. appear in the following positions: first. concluding. voice. member. 4(-i:. 2: b) a). a) J. 2'^. b). .1. an. - .. b). S. c). 2. J.

(121) /J.. PRELUDE AND FUGUE IN. the i^-w/V/^r-prelude, G^-ffiinorf. fI- MAJOR.. Ill. and which, passing through D%-7ninor, Ei,-77iinor^ closes in A%-vuno7\ The. {G^ -major). running counterpoint of. this period:. ir^^^EfEfef^teEl (2). rfciJir5=d?=:?=3^=:3. mtA. *3?»'-. 1^1. t=t=t±. derives its figuration form from the of the theme, but its chief contents:. m. ^B. concluding. member. fe: -t. from the middle voice {p) of the first episode, likewise from the close of the counter subject. There follows immediately a complete third development with the following order of voices: bass (theme in C^-77iajor), alto (theme in Fil^'77iaJo7', NB. a touching again on the principal key within the modulating section), soprano (theme in D^-minor [parallel]), all three following one another directly, and again forming a period of three members. Also the middle section contains, besides a complete development, a second (the fourth) one, marked only by one voice entry (theme in B-7najor [upper- dominant] in the alto) as close of a period of three members, the first eight measures of which are a reproduction of the first episode, but with three. new. i: bl. c). transpositions ui voices, viz.. ^c. 3: a). '. 2. b). i. 2. f^. 4f=i):. b). ^. .. J. c). J. ". -. Herewith the six possible combinations of the three voices are, as a matter of fact, exhausted!.

(122) SECOND PART.. 11:2. The great (second) episode which now returns shows an exchange between the two upper voices (commencing with 6'^s instead of 3''''^), and, as it begins a fifth lower, passes through the keys of G^^-minor, C'^-ptmor (Cif -major), A^- minor, and D^-minor. The concluding section (in the principal key) springs directly from the parallel back to the principal key, with Dux in the bass; the alto follows first with the Comes, but only after an insertion of two measures {^3 42), which with their quaver figuration freshen up the remembrance of the F- minor prelude;. —. fee'. ^:. -"^. -*^ir-*'. After the alto delivery of the theme there follow still four free measures, which, however, by compression appear as two (beginning with 8 5, and ending with 8^1), turning this period likewise into one of three members. Finally the soprano, which, since the last delivery of the theme in the bass, has been silent, gives out the Dux in a high position, whereupon the fugue concludes with four free measures (after-section). The entire absence of any disturbance of the symmetry deserves notice, and thus this fugue, as also the one in F-minor, is easily. =. intelligible. It was perhaps for Debrois van Bruyck looked upon. type of the species.. this this. very reason that fugue as the normal.

(123) 14.. PRELUDE. As\'D. FUGUE IN E%'MlMOR.. 1^3. 14.. II,. PRELUDE AND FUGUE. IN. FJi-. MINOR.. —. A. prelude a 3 of wondrous beauty an outpouring inmost soul, fresh with youth, overflowing with love, more, perhaps, than any in the first part of the work; yet in its whole disposition surely betraying the old master ushers in a fugue of high, earnest purpose, and of the. —. deep. feeling.. What freedom already melody and rhythm in the. in first. the. unfolding. half-period. both of which forms. the basis of the whole piece Notice well the insinuating fourth of the opening motive, the onward pressing triplets of the up-beat, the smooth semiquavers of the turn-like feminine ending of the second motive, together with its longing, upward -soaring, annexed motive; and also the 1. bewitching syncopation-effects from the measure.. third, to the fourth. Adagio molto amabile.. £^^^^^i dim.. ^^P^fe^Si cresc.. (4). The second. voice frequently imitates the upper one, but not in a single bar does it dispute the rank of the latter as leader; with exception of a few passages, the lower voice is a real bass. The motive material throughout is confined to that given above. The second period, which, together with the third, constitutes a middle section (in which extensive use is made both of the dominant, and of the parallel key), alone introduces something fresh; for. Riemann,. Analysis of Bach's. ''. Wohltemperirtes Clavier".. II.. S.

(124) SECOND PART.. 114. while commencing with the opening, transposed into the key of the dominant {C%-mmor\ it avoids the syncopations from the 3'"'^ to the 4^^! measure reserved to intensify the second period of the middle section substituting. —. —. the following:. -^Z*_^jJ^^^5_i. dim.. Quite enchanting is the gentle hint motive in the middle voice!. at the. syncopation. construction of the piece is easily shown. The period remains entirely in the principal key (whole close at the 4^^ and 8'*^ measures), but it has an appendage (5^" 8 a, a second after-section) which modulates to The second period joins on the dominant {C^-piinor). (with 8a =1), and modulates, first, at the fourth measure,. The. first. to the. then. key of the under-dominant (3a. — 4a). to. that. of the. B -minor parallel. (*^^{j. = /^T^J,. (A -major, with.

(125) t4.. PRELUDE AND FUGUE IN. =. F\- MINOR.. 115. the change of meaning ^yj( ^®), in which key, with an allusion to its dominant {d\^ b'^, it remains. The second, and immediately following period of the middle section (which, as already mentioned, is principally occupied with the syncopation motive) goes once again to B-mi7ior [a. ^—. ?.". C\-mmor. [= (/jj. ^^'"]. vn. —b"*-. _ o^J. out, in a passionate. and. pension. [=. *. ^c%. —. m-] ^Jf'. and F —/%"' — _ ^+(7 _ o^|)^ V#) ^nd opens. <>^;. vii. manner,. organ -point). - Vf, — <^%Tt)'. [=. '.y<. =. to. into a half- close in. the. ^n -. principal. (with. key. sus-. (^jf^^. "gh F' [= 4']. -. After the organ-point, the bass (solo). leads back by means of three placid triplets to the repetition of the first period: theme: gva'. The repetition of the commencement is, however, materially intensified by a double displacement of the syncopation motive (tonic under- dominant chord of the. —. —. Neapolitan. sixth):. (3 a). ^. :^E|gggE^E H piu cresc.. (;3b). If. *. *iJ^-.-.

(126) SECOND PAR 7.. ii6. The after-section is followed by the coda, itself a second, and complete after-section; both make rich use of chromatic harmonies (^ji-^"^=/'tf ' [dominant of the underdominant], /Jf. m = gy [second upper-dominant]), but do *. not leave the key any more. 1 certainly cannot find this prelude "harsh" ("herbe"), still less can I discover in it and here again, dry formality ("trockenes Formelwesen") must dispute the verdict of Debrois van Bruyck. The fugue (k 3) is likewise a very remarkable piece. The theme comprehends three measures in slow 4-crotchet and, indeed, this number is time, /. e. six real measures brought about by a repetition of the first group. The theme given out by the tenor in a sonorous middle first is. —. —. position:. —. Sostenuto con molt' espressione.. wmM ^=-. -ydim.. (4). The answer satisfies the demand that the dominant key should be led up to from the harmony of the tonic; to the opening r J it opposes an /^, and thus the opening step of the theme is changed from a 3"''^ into a 2^'^. The counterpoint accompanying the Comes is never afterwards literally reproduced, and is, in fact, little more than a first, and extremely simple rhythmical completion, and harmonic unfolding of the theme:.

(127) t4.. PRELUDE AND FUGUE IN F%- MINOR.. j. £. y. (8). On the other hand, the four inserted free measures before the tliird entry of the theme in the bass, introduce a characteristic formation (fourth-fifth sequence), which afterwards frequently recurs (also as counterpoint):. %==r=.-X^. iairr^:. II S. ^zi:. -^'W'. i*£i: ^. -^. -=-. f. (4-5). *. By ently ary,. the counterpoint to the first bass entry Bach evidmeant that the first motive of the theme, in ordinand in dislocated position (also in inversion), should. — —. as we have remarked, in repeat itself continually; but a similar manner, in connection with the G- minor fugue of the first part of the work thie compelling power of the harmonic and rhythmical relationships really produces formations of an entirely new character.. ^^^^^-. ::i5:. S^. VJ. Ic. \n %^-:. V. »-.

(128) SECOND PART.. ii8. 1^^==^=1eI '^><:. /. .,. w2#. j^. ==t tia--!:-. ,. ji._j^. P^ (8). The same toying with the opening motive of the theme now goes on through a period in which there is elision of the i ^^ and of the 5 ^^ measure, and modulation to the key of the dominant; also through a second (complete) after- section leading back to the principal key. The conduct. of the bass during these ten measures. is. as. follows. mi^. -t:. %. ^. V=r. (8a3l). (6 a). evolved from the theme; the close the old-world cadence which already appeared in ornamented form in the first counterpoint, and in altogether unconcealed fashion in the second. The first section (in the principal key) here comes to a close with the delivery of the Dux by the soprano (which according to customary mode of speech presents naturally a contradictio a second incomplete development in adjecto'. the theme is not even once again developed, but only presented once again). Also here the counterpoint is occupied with the material of the theme. The bass moving. and even. this is evidently. (with syncopation). —. is. —. —. throughout in quavers answers a purpose:. it. continues to.

(129) 14.. PRELUDE AND FUGUE IN F\- MINOR.. fiold fast to the. motion; but here. 119. opening motive in direct and in contrary also, tlie harmonic relationships lead, of. necessity, to different phrasing:. The middle voice is occupied with the second motive of the theme (displaced by one crotchet), and this is carried The latter enters with 4=5, on in the after - section. because, in place of the expected ^c\ under the final note of the theme (/S), /%"' appears, resolving with feminine ending in B-miii07-\ and, by change of meaning to d^, this leads at the 8^^^ measure to a close in the parallel key {A'niajor\.. ^. £?=^1^=f^^^gF=r. ^5j (2^. l^-o). (8). The second. (modulating) section of the fugue enters,. broad close, in the parallel key, in a clear manner, and, indeed, with development of a new motive which the voices, gathering together once more, announce in succession. The kind of imitation here is not one of sti'ict fugal kind (/. e. it does not take place in the fifth and octave); but it cannot be denied that here it is a question of a real development of a new thought, which claims rank next after the theme, and, later on, is combined after. this.

(130) SECOND PART.. I20. the fugue becomes a double fugue (and, by means of a third principal thought, a triple fugue). The pure form of the seco?id subject is:. with. Thus. it.. on,. further. g^^iLfef=-^|E^ (2). (4). gives it just before the close of the whole Here, where all three voices introduce it as a prolonged stretto, it passes through the Mixolydian trans-. as. the bass. piece.. —. —. now so famihar to us formation of the leading note and indeed, in a striking manner, on the last quaver of the measure: II.. H. tf. ^. ^. II.. ^S-J. -^^. ^1^^^. (4-2). (2). La. u II.. f-j^. 5^EfeEE^#._, II.. (4-2). f4=2).

(131) 14-. PRELUDE AND FUGUE IN. F\- MINOR.. 121. Besides the complete deliveries of the second theme, here marked as II, this fragment also contains some incomplete offshoots; towards the end the dotted fourth- (fifth-) counterpoint presents itself once again, and, in the after -section, it is also taken up by the bass. In the last group (y^h to 8^1^ measure) the tenor once again introduces the II theme in B-minor, but leaps from the concluding note to the delivery of the first theme, and in the. same key.. etc.. (8^1). Already this voice entry combines the first with the second theme; first of all the soprano begins the latter from d, but breaks off in favour of the fourth -(fifth-) counterpoint; and the bass takes it up (likewise from d\ but at the end suffers the Mixolydian transformation, and passes on to the syncopated turn-figure of the i^t theme.. L^^'iJT/ gva bassa..

(132) SECOND PART.. 122. In the after-section of this period there is also an inof the i^t theme (in very free form). complete delivery likewise. by the tenor:. It enters on c^^" abandons the repetition of the first group (5^— (5^), and, with o^^J=^j^vii^ modulates to the key of the dominant, in which the bass, in a repeated after-section, now gives the complete theme, while the two upper voices are occupied with the second theme. ,. c). (6 a). c). instead of:. J> .Izi—i. iw The. -St. at c from the real form of the 2"<* an intentional intensification, calling attention to a new, and important moment^ for we are now entering upon a third division of the fugue (which, however, still. theme. is. deviation.

(133) f/.. PRELUDE AND FUGUE IN FJ- MINOR.. 123. At the close of the second theme (while the bass, instead of the shake on d^, makes C^), the third theme is given a cadence with d^ g^ out by the middle voice. belongs to the middle section).. —. —. (8^2). .. li. P^if^^P. -N(4-2). This theme, likewise, is not answered in fifth and but at once appears in stretto, and in various positions: soprano beginning with ^J( and ending in -minor, bass beginning with /"jj, then tenor, likewise from yjj^ up to this point, all at the distance of two But now the waves rise measures (of one */4 measure). higher, and the modulation reaches the second dominant {G%-mino7'^ by way of E- major (^/"^ b'^ e [=^g^] octave,. B. — — - .|™ - ^1- - »^i! - .|vu_ o^tfvu _ ^1' -o^j:). The theme. here sets aside the cadential quavers of the favour of a continued smooth rolling of the semiquaver figure, while the quavers appear in other voices. A third period the first, developing the 3''^ theme, occupies ten measures; a second, with 8 1, only six [aftersection of only 2 measures] carries the first half of the new theme through the voices, and modulates through E??iajor {g^^^ ế) and A-major back to F^-mỉior\ a fourth period follows, going towards the under-dominant B-viinor During all this, the long in which it makes a half-close. close. in. —. —. =. =. syncopation of the first development J)i J the syncopation turn -motive of the theme, and also the fourth -fifth- counterpoint appear as countersubjects; and, finally, the first theme appears again, in the middle voice, after the half close in/jj', while the upper voice assists. (Jj J. I. with the dotted fourth-fifth-counterpoint, and the bass rolls on with the semiquaver figuration (freely inverted) of the third theme..

(134) SECOND PART.. 124. %J^^^^^. i^^. ;t=f=?rr». r-rC2). ^^^^p^s^^ (2 a). ^i^^^^^ii (4). But already the immediately following presentation of the theme (Dux in F^- minor in the soprano; the first motive slightly veiled by semiquaver movement, otherwise carried strictly through) combines all three themes (the third in its complete, smooth, onward rolling shape) with one another:. #. ^^: r^ qiji. —3-^-#- ^#-3—#. ^ ^ »-. fe-. -^. —. ^. f-x ^-<g-. _:l=. =rr=. qz=:i=;=:. —. i^-.

(135) t4.. With. PR EL UDK AND. FUGUE IN p't MINOR. -. j. 3-. not already in the preceding theme entry, concluding portion of the fugue, in which occurs: first an episode of 6 measures (2, 3—4; 6, 7 8), during which the bass continues to run on, while the upper voices indicate, in quiet quaver movement, motives from the i^^ and 2"^ themes; further a presentation. we. this, if. find ourselves in the. —. —. Comes. of the. in. the. bass. (repeated. after-section. with. 8=5), with the third theme in the soprano, and the second in the middle voice.. -I. !. *'C^'. \>. I. I. i-. A. peculiar transformation of the last mentioned episode (calculated to convert an unbelieving Thomas to our theory of phrasing: three -measure rhythm the order. — —. m. transformed into four-measure rhythm of strictly symmetrical character; so that in place of the motive chain, a a b, a a b, the simple a b a b is selected) leads back to F\-minor, in which still a presentation of the Dux in F^-minor (repeated after-section), with close- confirmation of two measures, brings the whole to a conclusion with a new transposition of the tliree themes: «-'. is.

(136) SECỐP PART.. 126 IF. ^==^:^. ^)Srrrv~j^ ^i. % (6). =a==j. ;=i^:. Jtzi^zizoL. ^Tf. -rfTT ^ «^. a.ji. ^=E^. J-*. ^*-^ i. * i. -^^. (6 a). (SJ. ^g^^^g^. #-:. ^. }*. 5i=t:. .^. i^ (8 a).

(137) i£.. PRELUDE AND FUGUE IN. n.. G- MAJOR.. 137. 15.. PRELUDE AND FUGUE. G-MAJOR.. IN. We certainly do not intend to become reminiscence hunters,yet cannot possibly get rid of the impression that here souvmirs of his yoimg days came back to "old" Bach; at any rate in the prelude, which at once recalls the C^- major prelude and the G-i?iaJor prelude and fugue of the first book. But here, indeed, everything is sedate, broader, more detailed, more emphatic. The prelude consists of two parts, each of which is repeated. In the first there are 16 measures, which, however, in no wise form two regular periods, each of 8 measures; but, on the contrary, already in the first period, fore- and aftersection are compressed (4=5); and, at the end of the first, the second even begins with 8=2. The three measures which thus stand over, consist first of a close-confirmation (cadence) of one measure, of which, however, the deceptive progression of the bass (a b) renders two more measures (8a=6) necessary. The scheme of the opening measures. more. —. Allegretto espressivo.. determines. the. character. quiet. fundamental rhythm. of. piece,. the. for. the. ^^^. ^^^i J J J J quavers glide diatonically up and down, and the semiquavers only appear as lightly vibrating figuration, thus: is. '. '. I. I.

(138) SECOND PART.. 126. f^^^^& ^?3^=^= r. ir. etc.). Even where, as in the second period, two voices move in semiquavers, after the manner of the G-majot fugue of the. first. book,. i^a^. I ^j-i. ijf^. ^^-= ^!==d. bzzd. Only in the quaver movement is only slightly disguised. the closes of both sections and in the middle of the does the a kind of working-out second section. —. —. semiquaver movement become a real one; but. it. moves. within the simplest forms:. ;3=:a *-»!—*. The harmonic. structure deserves close consideration;. ^^^mm^^m (8-2). (4--5). d'. i\^. c*(l).

(139) tj.. PRELUDE AND FUGUE IN. G- MAJOR.. 129. S. J^. A—. w a' (4). g«. d-^. d^. a'. '(8). g«. I^^^^^I^^B d. a^. /.. (8 0). 9^. d. o7. d-. (8). (doniiiiant). '-^. '^^. -G>-:-. S>~,. ^'l. (4-5). I. g^. g-. .. ^!. gPJh?. a'. SP c«. d+ I. g-i;,. (4). c+. «. (leading back). :?2:. d'-.. " Riemann,. Ob. b'. i^r. .—^•„. g+. 1). *-. (parallel). d'. (4). .. (8. :.. —. I. i^-zig^. g+. ..(8)d'. E3 g+(2)c«a'. (half-close). Analysis of Bach's "Wohltemperirtes Clavier".. (free repetition. II.. 9.

(140) SECOND PART.. I30. i. '^"^. 1=1:1:. d- b' (2a)0b(:^g^)c». =i=t:: d' (4a) g+. (0). of the 1st section.). —. —. is constructed a brilliant piece The fugue (a 3) in a wonderfully concise manner, for it has only six theme entries^ and it actually contains only twg developments, of. which the second comprehends both the modulating, and Now as the chief law of all the concluding section.. — —. formation A B A, i. e. establishment of a principal key, modulation, and return of the principal key, stands above special laws or "conventions of fugue", it were better to say that the first section of the fugue carries the theme ref^ularly through the three voices- that the second (modulating) section introduces it only in the bass and soprano; and the The theme, certainly, is third, indeed, only in the alto. not suitable for frequent repetition, unless, indeed, in the case of strettos; for it is too long: Vivace. brillante.. dim..

(141) PRELUDE AND FUGUE IN G-MAJOR.. 13. It springs suddenly into view, commencing with the fourth measure, and really nothing new is introduced in the g^ after- section^ but the tonic is twice confirmed by c^ d'^. — —. observe how Bach prepares the entries of the remaining two voices by an upward rolling semiquaver figure (which must be reckoned as part of the countersubject), so that three measures are not skipped over, but only one (after 8 follows at once 2):. It is interesting to. The Comes shows. at the opening the well known of the fifth of the key being answered by the fundamental note; but for this no reason can here be assigned, for we do not pass from the harmony of the tonic to the key of the dominant, as that modulation has already been completed by the countersubject and, indeed, in the rare manner, only perfectly suitable to the period at which the fugue style held sway viz. by a leap from dominant harmony (^') to the key of the dominant [d as tonic). The first countersubject does not return in strict form, and it must be looked upon as an ingenious combination of the two countersubjects which are employed throughout the whole fugue:. alteration. —. —. l). alto entry.. ^.pA. ^^.^^^. -0f^'-. (2). (4). 2) bass entry.. ^i^^==E^:t^. 1 #-*. A-. I^P:.

(142) SECOND PART.. 132. (8). section includes the three voice entries, and the following three appended measures (6^— 8 a), which carry on the sequence of the two upper voices, and make a formal full -close in the dominant {D-Juajor). A glance at the lower voice explains the possibility of this appendage. For as before the entry of the alto, the soprano, and before the entry of the bass, the alto rolled onwards, introducing, first an accented measure (2), and then, still, a group of two measures, on the point of stress of which. The. first. the new entry followed, so now also, the bass, satisfying the requirements of symmetry, rolls onward; but as there is not another entry, it turns round at the right moment, tending towards the key of the dominant by means of a stately cadence.. The modulating section plays first with phrases of two measures borrowed from the theme (one must, however, be careful not to look upon their first measure as accented, which, with regard to the theme, seems likely.. ^^^^^. I. (=aVII)(4^2)e'.

(143) 'S-. PRELUDE AND FUGUE IN G-MAJOR.. j^^. the transformation of ^' into ^"^i^, and the avoidof the expected C-7najor close, the 4^^ measure acquires the meaning of 2"^^ and the period, continued ^vii |-q after the same fashion, turns by means of o^ entry a new bass of E-77imor, in which key, with 9 4, the theme follows; then appears a delivery of the Comes (in B-fJiinof) by the soprano, and quite after the manner of the first development. The next period already modulates back to the principal key, and, indeed, again with working of the same phrase of two measures as the one in the first episode; towards the close of this period, the upper voices assume a close attitude:. By. ance. =. =. This sets up a standard for the now following third period, which at the second measure becomes an organpoint on D, but with the thirds and the shakes transferred to the lower voices, so that the upper voice alone has to The organ-point ends with spin out the thematic motive. a half-close on the 8^^ measure, and only then comes a final delivery of the Dux by the alto, which, however, is fully prepared by the filling out of measures i 3 with the well known from the earlier theme entries rolling figure. —. —. intensified into. through. all. end of the organ-point. —. demisemiquaver movement, and continued. the voices:. F^.

(144) SECOND PART.. J-. ^^JL. _. ,J.. e=l^^^sii=™ Dux. ^. Only two measures of close-confirmation, in which soprano, again in demisemiquavers, rolls downward from ^- to small b, are added by way of appendage. Bruyck, who compares the prelude to a woodcock hopping lightly and merrily, finds in the fugue a "deliberate movement which may almost be compared to the waddling step of a duck" („bedachtige, fast dem wackelnden If we transEntenschritt vergleichbare Beweglichkeit"). form the duck into a swan ghding over a smooth lake, the. may. possibly be reflected in the prelude; the rapid zig-zag flight will serve admirably as a simile for the fugue. this picture. woodcock with. its. II.. 1. 6.. PRELUDE AND FUGUE. IN G- MINOR.. The prelude, which Bach himself marked Largo, is, however, none the less (although the allabreve-stroke be missing) conceived in allabreve measure, as the harmonic In order, while attending to minute analysis easily shows. details, not to lose the outline, the minims, in spite of the very broad. = 40),. tempo (something. like. J. = 80,. therefore. must be taken as beats. The continued figuration m dotted semiquavers and in demisemiquavers may seem at the present day somewhat roccoco\ but the rich liarmonic contents of the piece, strictly carried out, for the most part, a 4, enable one quickly to forget, the someI.

(145) PRELUDE AND FUGUE. 16.. IN. G- MINOR.. 135. what formal shape ot the accessory work, unless, indeed, be regarded as principal. The figuration of the first measures:. this. Largo/. 1^^ P m^ (2). is. lS5Eii. •Ml. "^. maintained throughout; without. somewhat. it. n. J. Tl.. the piece would appear. as follows:. I^PIp^i^ PgE. ^. ;>5». ?:. r. —. (2). r^ G?^;. S. F5-^. ^. (©. ^-. :?^=#:. (4). iitp^^f^ I. JU-;=g. Si. I3. (8). (half-close in the. dominant key).

(146) SECOND PART.. 136. ^^^m^^m. \^ Sfe. 5-. \\^-0. —. ^-. i^^g. !^-:zi± -&.-. 4). (2). m i^. :3?i:. r7. ' I. I. 4. 1. 4==^=: -*— —. g (8-0 (under-dominant). '^m^^^^pm ^^ — -t. ^1^^^. ^li^. (S). spE=g=j^. 1^" ^P^§^=^. t&fc (8a). (8b).

(147) 16.. PRELUDE AND FUGUE IN. G- MINOR.. 137. Only two periods, the first of which makes a halfclose in tlie key of the dominant {D-niinor) one/', while the second, passing through the key of the under-dominant {C-ffiinor), regains the principal key; and yet what fulness of expression within these narrow limits! The fugue (a 4), with its tense, and indeed somewhat stubborn nature (see the obstinate note-repetition of. —. last member of the theme), is well in keeping with It appears equipped with the whole apparatus the prelude. of double counterpoint, and forms a fitting sequel to the mail-clad prelude. The theme occupies an authentic position, turning, within a narrow cuxle, around the third of the key:. the. Allegro poco maestoso.. S^. 2_y-. =¥=P=. (Tenor). (2). ^E=S. f. I*. '. E3 (4). The Comes answers d with g in order to effect the modulation to the dominant from the harmony of the tonic; the rest. is. a faithful transposition in the. fifth.. The. theme with its four measures is favourable to simple structure, and of this possibihty Bach makes abundant use, first of all, by allowing the entries in the various voices to follow one another regularly, without intermediate episode (tenor: Dux; alto: Comes; soprano: Dux; bass: Comes); and, further, by introducing very few changes of meaning in the. measures of periods.. The. first countersubject is strictly mantained throughout the whole fugue; and it is so disposed as to be able to be doubled in thirds, and combined with the theme doubled in the same manner; such a combination a 4 occurs in the third development;.

(148) SECOND PART.. '38. $^?^E^Hf=& ^ feg^. m^. A counterpoint of this character not only allows of kinds of inversions in the 8^«, but also of those in the lo*^ and I2^^^. In the first development Bach only introduces the two-voice form which results in a 3'''^, likewise 6*^, between theme and counterpoint on the points. all. of stress of the measures I.. (. ^ also. ^. a). a). b). ). b).

(149) t6.. PRELUDE AND FUGUE IN. G- MINOR.. 139. b). m,?^s* ggS^a •». I. ~. I. Also the first enunciation of the theme in the second development (Dux again in the tenor 1), introduces the countersubject in form 2 (in the bass); but already the alto entry in the same development (Dux [1] in D-minor, or rather in F-inajor) transposes the countersubject a higher,. so. as. produce. to. the. combination. fifth. (double. ^. counterpoint in the 12^^); d). etc.. instead of:. i?g. i. c). while in the soprano entry of the theme, which follows on immediately (in B'?-major)^ it is moved up only a third. (combination ^ or. ^\. double counterpoint in the. 10^^):. instead of:. a). U-..-;'. The. bass entry of the second development (Comes in same combination, with voices reversed:. /^-///^y^r) displays the. instead of:. d). ^^ p 01. -i-0-. •7. ^. '' •7. 5:. M.

(150) SECOND PART.. 140. The displacements of key which result from the trans* positions in double counterpoint of the lo*^ and 12'^ (see. my "Lehrbuch des Kontrapunkts", pages 79, 129, 137, etc.) should be noticed^ a certain wavering between the parallel keys {D -minor and F- major, G-mmor and B^- major, C-ffiinor and E^- major) is, for better or worse, the more or less mechanical result of employing double counterpoints other than the one in the octave. The third development brings about new combinations a 3; and, indeed, the theme is, first of all, aoubled in thirds (tenor and alto), while the counterpoint (bass) retains. original position:. its. Tkt^ ^. m^^m cj. -^. speaking, however, this form must be traced an accompaniment of both voices with under-, like-. Strictly. back. to. wise upper- thirds:. or: d). I^P^SP^^. »-«^^«it,ii=. 2.. a). 1.. ^^. 1. c). here. 1. a, likewise c. theme:. &. b\. d (of.. C). 2. c. 1.. a/. The. next delivery of the.

(151) 16.. PRELUDE AND FUGUE IN G-MINOR.. m w. 4^-. n. 2. W-y #•. 141. -3-. *•. IV± — •*•. vj. tsa. not a simple transposition and octave displacement of above, but introduces the countersubject transposed a third b\ d\ higher, t. e. the form I a likewise 2 c of the second is. 1. I. c/. a/. four- voice scheme; or (if the question be waived as to whether the upper- or under-voice of the interval of 3''^ is. b\ to. be accepted. as theme) the. form. a. |. of our. first. four-. voice scheme. Now follows as a special display the fourvoice form given above (theme and counterpoint with thirds). The third development, forming the principal feature of the concluding section, gradually renounces double counterpoint, for the tenor gives out the theme (Dux), while the countersubject transposed in the 12^^ appears in the alto; but neither comes regularly to an end, for soprano and bass set in with Dux and countersubject (in the original form) compelling them to proceed in sequential form, so that the appearance of a stretto is brought about. Anyhow, with regard to the soprano enunciation of the theme, there results the four-voice form:. ^ ww^. -^--. :t:=i. a transfer in the octave of the first four-voice scheme; however, does not come to an end, but assumes a homophonic, chord-like character, leading to a formal. i.. e.. this,.

(152) SECOND PART.. 142. G-minor. The concluding delivery of the Dux is prepared with great ingenuity, in that all four voices repeatedly start off with the countersubject,. cadence. in. in the bass. waiting, apparently, in vain for the theme*,. g"^^|3 2^' ii^Ettei'^ t. jMJ^. ^-. -^. only, when, resigned to their fate, they return to the cadence, does the Dux enter in the bass; then tenor and alto commence the countersubject in thirds, but have a We see how Bach made no extravagant free ending. use of the various combinations, but was satisfied with hinting at them, just as they offered themselves. The episodes of the fugue make use, for the most part, like the one last mentioned, of the beginning of the countersubject, together with a counterpoint in dotted quavers, which may be looked upon as a second countersubject, but which has no fixed form.. and. The. three sections of the fugue are as follows:. Exposition (in the principal key): the four voice entries immediately following one another; the first episode of four measures which leads back to the principal key; and the second enunciation of The latter does not bethe theme in the tenor. long to the second section since it is in the principal key; besides, it is separated from the following alto delivery of the theme by an episode of four measures, which, in any case belongs to the I.. n. Modulation Section, and passes through Fg"^), G- minoi major {^d= d^^), C- major {/^ ^vii) to D-minor (^/vii). (^3The delivery of the theme in the alto is meant for Z>-??iinor but for a moment, in the middle, changes into F -major \ the. =. —. ,.

(153) 16.. PRELUDE AND FUGUE IN G-MINOR.. j. .. adjoining delivery of the theme in the soprano is entirely in B? -major, and the immediately following bass entry, in F-major. Before the third development there again appears an episode of four measures, <:ni') and which quickly springs to C-minor (y^repeats the fourth measure, when the half-close on ^^ is changed into a whole-close. The third development begins apparently in C- minor (because the upper 3''<^, e\y stands above the fifth of the tonic), but soon changes to F-inajor (^g e?^ b'?^ ^7 ^[76 y+^^ An episode of two measures {ya 8a) restores the key of C-minor {f^' c'^^^, and this time there really follows a delivery of the theme. =. in. — P—. =. — — —. —. =. C-mi?ior (beginning with ^J. I,. which only in the. middle inclines slightly towards E^^- major, and hence has its close confirmed (j^); a freely formed after-section brings the period to an end, and modu-. —. to EV-major {c'^ii = a^^ b\?^. The E'major enunciation of the theme, with which this section closes, appears somewhat uncertain owing. lates. the upper- third being placed over b\? the fifth of the key: it, however, soon becomes clear by the introduction of the ^l^ in the countersubject. The close of the period consists of the return modulation d'), whereupon follows the {e\^^ [=<§'^"] !:. to. —. —. Concludi?ig Section which has already explained. III.. II.. been. 17.. PRELUDE AND FUGUE. IN Al^-MAJOR.. A. wonderful prelude, the pleasing, harmonious sounds of which one takes in in full, long draughts: it forms the introduction to a fugue of specially fine texture. It opens on an accented measure with which the following unaccented one is immediately connected, and the contents which are similar:. of.

(154) SECOND PART.. 144 Larghetto.. mp. fe:. §£fe^^. S^^E^ (S). (M^^^-^^^^^^^ iife^=^ ^iizzi: (4). The now. after-section introduces another,. falling,. mf. now. gently rising,. motive. ^. f. sf. (8). against which the beginning of the second period stands in soft contrast:. ftế.

(155) ij.. PRELUDE AND FUGUE IN. a\- MAJOR.. 145. this modest material Bach works through no than 76 slow bars, and, by cleverly grouping them, well understands how to revive the interest of the listener. The re-entry of the principal thought (the opening one) marks the arrival at the chief points of the modulatory development^ thus first, after the second period of eight measures, in the key of the dominant ^? (with 8 2); after the fourth (greatly extended), in the parallel key of F-7ninor (again with 8 2); and after the sixth (also extended), in. With. less. =. =. =. the underdominant Z>7-/7/rt7>r (likewise with 8 After 2). the eighth period, when its return in the principal key is expected, Bach, however, suppresses it, and carries on the piece to the end, after the manner of the second period of the first three sections; the ninth period^ by insertions and a repeated after-section, is extended to 14 measures. The fugue a 4 is richly equipped it has no fewer than 15 theme entries, carries out a countersubject in the strictest manner, and a second one (free) and also provides fugal episodes. The theme is extremely graceful, clearly divisible into two members, and highly symmetrical. As it begins with the fifth and does not modulate, the answer modulates from the fundamental note, and thus contracts the first step of a third to one of a second; :. ;. I St. Riemann,. countersubject.. Analysis of Bach's "Wohltemperirtci Clavier".. (6) 11.. lO.

(156) 146.

(157) /;.. PRELUDE AND FUGUE IN A MAJOR. "}•. 147. 8va bassa. In the last development mediate between the two:. P. l?£^=^ 8va bassa. ^ A. there. something. inter-. J^^M^Z^Z^zfeii^^.^ -l^ SP=F s^ b sT-. -^^-^- ^-irfeii. is. ^1^. '^m. :t?*=f:. second countersubject, though never. strictly. adhered. more. or less free form, throughout the whole fugue, is the one with the smoothly running semiquavers (at the tenor entry of the first development): to, but appearing, in. ^^^g=S. '^—»-. ^--. It returns almost exactly in the same form at following bass entry, and may be traced, besides, in bass during the first episode. This episode, and the imitated from it, within the third development, work an independent theme of three measures (1):. the the. one out.

(158) SECOND PART.. 148. ^Sg^i^^'^?^^^ (6). (4). (2). with which, in addition to the second coimtersubject, is associated a smart motive recalling the first member of the theme:. ^ggggEg^^i= first section in the principal key comprehends development (alto: Dux; soprano: Comes; and after two measures of close-confirmation, likewise leading back 8 a], in which the alto starts oft' with the commence[ya two complete ment of the theme, tenor: Dux, bass: Comes periods) the first episode, which, by elision of the i ^^ and 5'h measures, forms a period of six measures (keys: E7-inajo7', A^7 -major, D^-jnaJor), with one measure of close-confirmation, likewise a leading-back (8^;); and the second development (bass: Dux; and after two measures of close-confirmation [3^;— 4^], which turn towards F-7ninor. The. the. first. —. —. ;. Comes. again in the principal key, only bass by a scale - counterpoint in this slender semiquavers which only occurs this once period kindles interest anew; also tenor: Dux, and after a freely formed after-section, beginning with 4 5, the soprano enters with the Dux in a second, and intensified aftersection; in all, again two periods, but with an insertion of two measures, an appendage of four measures, and an elision of one measure, by change of meaning, i. e. 2\ measures). The second (modulating) section, is now, exceptionally, not divided from the first by an episode, but, after the cadence in A^ -major, in which all the voices take part, the theme (Dux) enters immediately in the alto in F-7ninor\ it is [parallel],. alto:. accompanied. in. the. —. =. performance to lay a slight emphasis on the close The after -section (with 4 of the section. 5) forms an episode, in which fresh counterpoint is opposed to the second countersubject: well in. =.

(159) PRELUDE AND FUGUE IN A^-MAyOR.. I;.. ^. (4=5) and which closes. 149. (8). in C-mi?wr.. Further follows the extended,. transposed reproduction of the first episode, with exchange of voices, again with elision of the i^^ and 5^^ measurcb, .ni'.i repeated after -section passing from C-rninor to F-}fiiiior, B7-7)unor and E7 -minor. The remainder of the third development, and of the second section, thus runs its course in the remote regions of the parallel of the second underdominant (tenor: Dux ^^-w/;/*?;-)- of the parallel of the underdominant (after two free measures, which make a half close in By-minor, soprano: Dux in B'?-mi?ior with a trip.ct measure for the last group); and of the under-dominant (bass [8 itself opening [i. e, the closing beat |]. =. changing. |. meaning. to that of upbeat of the fifth measure] with Dux in -major, turning, indeed, at the end towards V\?-7ninor, whereby the obscuration has reached its highits. D^. est. point).. The master now. collects. his. whole strength,. and, in a repeated after-section, struggles upwards through A? -minor and E7-mi7ior to a half close on ^t?' (whereby, finally, an impressive triplet of beats occurs over the prematurely reached E7 of the bass). The second section comprehends theiefore only three periods, but 32 measures The third (closing) section now enters definitely with the Dux in the tenor, followed by the Comes in the bass, with slight compression (4 5); but it avoids the repetition of the modulation to the dominant, in place of which, indeed, a triplet of measures presses quickly (^ấ^" chord ^t^vu of the Neapolitan sixth) towards BV? -major {aV^ 1. =. _ ^[79- _. _/;i77_^l?VII. ]. I". 0^{7. _ ^bvil —. «[,7. _. —. ^\;2>. y. This deceptive cadence changes the meaning of the 8'^ measure to the 4»h, and a new impulsive triplet of measures advances from the broadly disposed chord of the Neapolitan sixth, again to the upper-dominant (organ-point on el^"^ 6^^ measure), and concludes, briefly, in the tonic. The close is once more confirmed by three measures (triplet), but ends with a deceptive cadence in F-minor (^aV) in the repeated.

(160) SECOND PART.. I50. after-section (to be interpreted with breadth) of which the theme (Dux), as fifth voice, among the four real voices conducted regularly to the end, brings about an imposing close.. II.. 1. 8.. PRELUDE AND FUGUE. IN. GMVIINOR.. Once again, two pieces of quite special interest. In the prelude there is the breath of fresh spring (and with this the nearly related key of E-major may have something to do); buds are bursting forth from every nook and corner: Vivace quasi Andantino.. -fe:#J3E^^=^= -v^=«-»!=j rzei^e^^. I^J. (Commencement). 5:. — ^-=^ .^-. (3>'d. •. (2);r. 8va. period). The happy man, bewitched, rance:. Ir. loco. bva,^.. enjoys the balmy frag-.

(161) 13.. and. PRELUDE AND FUGUE IN. G\- MINOR.. cj. j. and new deeds germinate:. his heart opens,. Bach himself has prescribed the dynamic contrast of the former {^piaiio), and of the latter {/orle) passage. A detailed analysis of the piece may be lelt to those whose interest is excited; I give only the scheme of the harmonic development:. section (with repeat).. i^^ ist. period:. Mjj. d>',. I. ^dj}. d{f'. ^djf. I. dj';. ^dj*. I. (4). (8). 2°d period (skipping over the. fij.... -^.b'-e(=dj;VII). first. aj}'.. measure):. <'dji. = b^. cJJ'. |oa{(.. ... j. (8). 3^d period:. _ ([>«>. ^}j9>. 3> (=. gjj^-,. I. 0^)}). jjjj9>. _. (2). (8=lj. (4). 4*h period:. gjf. '. .. c#'. . |. (-*). »a{(,. vn. ej('. ... fjf'. b+. ;. «. [=. djjvil] aj;^. (4). aj(+ (half-close in the key of the dominant)..

(162) SECOND PART.. 152 Close-appeudage. period):. I^t. (cf.. a|i' ®a|| aii"^pati att^. "^ajt. (8b). (8a) 5th period (skipping over the. measure): aBVII> [deceptive-. first. cadence harmony with change of meaning to. b-t"]. — ^^\<. [= ^^^"'l (4). dj}7. Odjf;. yil. odjf. ... ai|^. |. I. (8=2). 6th period: Oajf.. .. [=. .. gj^H. fj(«]. cj*+;. cjj^. fi}4-. 6. (4). (8a). (8). 2"*^. section (with repeat):. 7th period: djf". ..|. giJ^. [=g#VII]|. ... dS7. 8»h period: cjj^. .1. Od^,. I. .. I. Og^. gjj7. a+. fj|7,. .. b'. gjj,. e^ (skipping over the (4). e',. a^-. [= cp^]. cjf7. (8=2). (6). 9th period:. Oc#, OgjJ [g|vil] dj{7. Odj(;. ... o^jj. |. (4). aj}-. e«'. 7.. d#^ j. gj(^. ^.. c^. frI. I. (4a). |. (8=1). (2). .. cjf^. (4-=5). (6a). (6). 5th measure). Ocjj. (2a). (2). f|7. cj^. <»g{j,. ..J. (8). [=. aJjVU].

(163) PRELUDE AND FUGUE IN G f MINOR. IS.. [=. fjjs. loth period;. Oajj] ^jjo-. a{f. jg^. djj^', Odjj. ' I. Vllij. dji^. (4). (2). ^d|;-. ... ogj,,. gjjT. df. jCjt-. yil. ajf^. I. I. d^S. e>. I. (6a). (8). nth period. ist. (cf.. period): ^djf. ^dj}. djj^,. djj^. (4). (2). Mj}. djf^. oa^. d}(^. Ogjj,. gj(7. I. Ogjj. gjfT. ej(T. I. (8=6). Triplet of measures. I2th period:. tt. (deceptive cadence) gC''. cjl"'". J.. fji'^. a{}^. gJfVU. ,. df. Odj^. d#2>. b"*";. (4). (2). (Odjj). .. (8=1). (6a). J.-e+. ^dj^. |. od|. 7.. I. (8). The modulation is freer than usual: one especially misses the parallel key among the chief points of rest (but in its place the key of the dominant of the parallel is to be found among them)- the key of the under-dominant, also, scarcely makes itself felt, but, in its place, that of the second under-dominant {F^- minor), and that of its parallel are prominent.. The fugue a 3 glides along in quaver triplets (®/g) with lizard-like hghtness. The theme, with its inserted, repeated 2"«i measure {2d), disturbing the tonality, has a peculiar play of colour; it turns about the third of the key (soprano):.

(164) SECOND PART.. 154 Con. agilita.. The Comes changing. its. (alto) enters at the close. meaning of. fifth-transposition. to. the. that. of 5'^. Dux.. As. —. — the. the. and. 4'^. is. Dux. measure. a faithful does not. modulate, the Comes does not modulate back, and therefore an episode becomes necessary before the entry of the 3^«i voice, in order to restore the principal key. Bach fashions this so that it shall, at the same time, complete the symmetry, i. e. form the fore-section to the 3^^^^ voice enters with fourth Dux in the bass entry (this again The measure changed in meaning to that of fifth). counterpoint of the soprano to the first appearance of the Comes and the first episode, prefigure, as it were, the contents of a second theme of the fugue, which is a real, In other words: from the complete, double fugue.. —. —. countersubject and of the first episode, (in the middle of the fugue which contains 143 bars), a real second subject which is developed independently, and then combined with the principal theme. For the i^* countersubject appears thus:. motives of the is. first. crystallized, later. on. le.'iX repeats twice a syncopated motive, a species of cadence which, however, powerfully deflects the harmony of the theme the. first. time:.

(165) PRELUDE AND FUGUE IN. tS.. G\' MINOR.. 155. instead of: •2-. _. reThe. -7. ^d;:. g;^. first. episode runs thus:. a. i=i. 1^. «. cjt^. T^^l ^. ^^. "^K. 3^ (4). The second theme first detaches from the latter the chromatic passage, while the syncopated motive of the first countersubject appears as appendage (see measures 66 70):. —. 3^. d#7. gjf^-. 4^-. 1^ c|^. arises a slight. Oaj}. ajj7. This second theme struction, so that. -#—. si:. is. it. (2). -sSi. af. (4). ^aft. perfectly symmetrical in conwith the first theme,. there enters at the second measure-. when combined. conflict^. dfiVII. gj(7.

(166) SECOND PART.. 156 motive of the. meaning of. and gives to the second measure the that, by its resisting harmonic and. latter,. in. first,. rhythmic nature, it destroys (as indeed the first countersubject does the cadential power actually inherent, and repeatedly felt, in the second measure of the theme:. (8va). h. I. f-y-. ^ #. ^•^. (2=1). (2a). h-.. mi m=r=^. -^0-i. (-1). I repeat, that this second theme is evolved, as it were by good chance, from elements previously employed. Besides,. already before the appearance of the second theme, the motive of the first countersubject is frequently opposed to that theme, and it is also employed in the episodes. The other contrapuntal material of the piece grows also out of the theme, countersubject, and first episode; in the last named, the motive of the upper voice. exceedingly fertile. It appears, first of all, in every episode of the section before the entry of the second theme, as chief element; and, immediately on the second delivery of the second theme (by the alto), is opposed to its appendage, as if the source of the second theme were to be pointed out in unmistakable fashion: is.

(167) i8.. PRELUDE AND FUGUE IN G^- MINOR.. 157. Towards the end of the second section of the fugue (development of the second theme without the first), the inversion of the chromatic chief motive of the second theme, with the assistance of the above-mentioned countermotive, attains to special importance:. As already remarked, the three principal sections of double fugue must be distinguished, according to the. this. thematic material, as:. —. Development of the first theme alone. Development of the second theme alone. Combination of both themes.. I.. 11.. III.. It is extraordinary that Bach has remained in the principal key during the whole of the first section, although is very long, and the theme more than twice comit pletely developed. I.. I. St. 4=. Development: Dux. in soprano,. Comes. in alto. Then. follows immediately a close-confirmation of one measure twice repeated {Sa, d>b), and a redundant delivery of the theme by the alto voice. This latter is detached in too marked a manner, by the extent of the episode which follows (Scz, 8^, and by a complete new period with triplet of measures for 5 6), from the (with. 5).. —. subsequent theme. entries, to. be reckoned amongst them..

(168) SECOND PART.. •58. in a detailed and formal manner dominant, so that the Comes may commence a fresh development with intensified effect.. The episode modulates. to. the. 2"^. —. and. Development after. 8. (with. =. i):. Comes. in the. an episode of eight measures, which. first. bass,. of. —. all. \a to C\-miuoi-, ^b 4^ twice displaces the close (3 io B- major), and next, in the after-section, returns to the Comes in the soprano. Then after key of the dominant an episode of six measures {^a, displacement of close to Ci^-mi7ior\ 4^, displacement of close to B-niajor\ and after-section with return to the principal key), Dux in the forming another after -section which bass (with 8 5), by means of an concludes this development, and appendage of two measures to be taken in broad, full time makes a half close on the dominant, thus {ia 8^;) rt-. —. =. —. —. —. intentionally. marking the entry of the second theme:. allargando. .. 3''^ Development (for clearness' sake, commencing II. with only two voices, soprano and bass): the second theme (beginning with ^/jf) in the soprano, and, after a leading-back measure (4^), the second theme beginning in the alto with g\j also, after one measure of close-displacement (8a to C^mifwr), 2"^^ theme beginning in the bass with rjfi whereupon a free after-section leads back to the principal key, in which, once again, the 2"^ theme is given out by the soprano, but in a higher position, starting from g^\ in this last presentation of the theme (5^ 8^) the harmony turns towards the end from G'ff-mwor towards. —. £^-mmor (o^-^Jf^.^Jjn^ 4'—''4,. ^}j'. —. ^^jf).. From. an extended period (with 3^ 4 a) leads back to the principal key, while the above mentioned inversion of the opening motive of the second theme descends through A^-mwor (^||^" ''=^it ')> D\-mi7wr (,jtiiid\'^\ c\- major {g^-^, «jj7)^ G%-major{a1.^^^-. this. high point of departure. =. r^- major (^i}"^), again upward to. =. to B- major (parallel), but then soars C^-7?iajor, in order (at the 6'^ measure).

(169) i9.. PRELUDE AND FUGUE IN. G'^- MINOR.. to chanffe this to the meaning of the sixth (gP'-"^^^), so that the 8^^ measure. 59. chord of the Doric. makes a. hah'-ciose. on d^^. Over the long sustained d'^ of the bass, the two upper voices then return to the tonic with repeated aftersections in form of cadence, closing the second section and leading to the third. III. 4^h Development (with 8= i): i^t theme (Dux) in the bass, 2^^ theme in the alto; after two measures leading i^t theme (Comes) in the /^d): to the dominant (3^ soprano, 2"^^ theme in the alto; then after a free fore-section modulating to the under- dominant: i^^ theme (Dux) in E-major (parallel to the under-dominant) in the alto, 2°*^ theme (beginning with e) in the soprano. A free episode leads back, first of all, to the key of the under-dominant, and then modulates through F'Cf-minoy (^§^), G%-fnajor ễ'), 'D%-77iitior (^jf'), back to (df^), A jf- major {g!ji^^ the principal key, with a close -confirmation of two mea-. =. sures, gathering together strength for the. Development. This first introduces the Dux in and the second theme in the bass, with threefold change of meaning of the 4*^ measure back to that of 3''^, by repetition of the close of the first theme through 5^^. the alto,. all. the voices:. (4=3). (4a=3). P=i=^ (4c-6j. =. At the close of the period (8 i) the soprano then enters with the first theme, while the alto takes up the second, and the bass, with wide stretches, effects a cadence.

(170) SECOND PART,. i6o. freely formed after- section ends motive of the theme in the soprano:. The. II.. with. the. clos'.ng. 19.. PRELUDE AND FUGUE. IN. A-MAJOR.. the character of the Gigue, as that the triplet-move/. e. as counts; whereas as yet only pure figuration (. The prelude has form had developed. ment. is. originally. in Bach's time,. I. h. I. !. was the rhythm on which. it. was originally. based); so also are the opening imitations of the fugue kind,. Poco. vivace. ma. grazioso.. W^^^.. ^. ^. aTtt:^^?:^^. and the inversion of the motive, entering already close in the dominant key:. first. $1'. i. B". [xf <ar. T 1. after the.

(171) 1$.. PRELUDE AND FUGUE IN A-MAJOR.. i6i. The piece is strictly written a 3-, the three voices, however, do not by any means share equally in the development of the motive, tor the under-voice repeatedly has long stretches, for example (commencem-ent). (end of the. or,. first. period):. -^^^^^^^^^^t ^^^ ::. (8=0). The. first. changes,. first. (8b). iSa). period keeps firmly to the principal key; it of all, the half-close of the eighth measure 6) into a full-close, but by means of a one-measure (8 appendage, returns to the half-close (8 b); with still another half-section (5 8), however, it regains the full-close in the principal key, but in an appendage of two measures makes a quick modulation to the dominant {a^ b"^, e^ a^. =. —. \. b'. :. e^).. Now,. (8a=l) make use in. which. with. 8=1. (7). the second period. of inversion, modulates to the makes a half- close {e^ b"^. it. begms. key. parallel e'^. \. a"^. ^,. \. (4). (2) .'.. (= fp). }r. strengthened. /^^^^ I. y« (=. d^). ^'. a. (=. .ijvi) I. —. —. (8). cp,. —. by two measures (7a 8a: rit' ^rjJ winds up with a new after- section (with. ^^<i. ^?t^». (8a). I. to. —. of measures for 5 6) in the parallel key {F'jf- minor)'. Thus both aims after positive modulation (dominant and parallel) are accomplished, and a specially concise period not imitating the principal motive, but only making use of it in hght fashion in the under-voice leads, after the manner of a sequence, back to the dominant: triplet. —. —. Riem an n.. Analysis of Bach's "Wohltemperirtes Clavier".. II.. 1.

(172) l62. SECOND PART.. (4)1. E^^=.

(173) PRELUDE AND FUGUE IN. fp. poco. A- MAJOR.. 163. f. (4). The Comes. is a faithful transposition in the fifth. coiintersubject cannot be shown, at least none which faithfully returns; still, emphasis must be laid on the. A. real. fact that the. tant. pointed rhythm. ^. in all the contrapuntal. 7-dle. Jj P^^-ys an imporJ. J writing, as well as in all I. For the most part, the counter-voices adepisodes. vance by degrees with note repetition (a), or chromatically, {p), or replace the note repetition by octave steps c, d):. the. m. fe. -0-. •9. c). :!&!. ^m^m mm^. i.-Sfc. I. d). ^^ i if^M:. It cannot therefore be denied that unity reigns among the counterpoints to the theme, but the master acts with. sovereign freedom, and by no means keeps strictly to this ascending direction (cf. the second bass entry of the first, and the alto entry of the modulating, section). Where, in the episodes, the doited rhythm is wanting, the concluding motive of the theme is imitated. Finally, the first countersubject (counterpoint to the Comes on its first appearance) seems to be the one least related:.

(174) SECOND PART.. i64. (8). motives, with exception of the first (which, after all, only appears in two episodes) never return. The construction of the whole is of the utmost. its. simplicity:. pt section (in the principal key): Dux in the bass; then, joining immediately on, and therefore eliding the 5'^ measure, the Comes in the alto; and, after two measures, the. with return to. —. principal key (la 8«, aside the tritone g^. in. which the. — d should be the soprano, not, however, as repeated noticed), Dux the section, but as a new fore-section, followed — repetition of the fourth measure (from A-7najor to E-rnajor with inversion of the concluding motive of the theme) — wonderful. d^^. setting. in. after-. after. another bass delivery of the theme (Comes), still bringing about the appearance of 4 -voice writing, as if the first voice (which it really is, so far as mere position Thus the principal section is concerned) had been tenor. only ends with the close of the second period. This close, however, does not follow smoothly on the dominant (^^')» ^^^ rather does Bach introduce, towards the end, the Mixolydian bending of the leading note {d\ in place of ^j}), not for the purpose of returning to the principal key, but to change the meaning of gt, b^ d of ^' into ^ji^^^ and, with only two additional measures {^a Zd), to obtain a half-close in the parallel (F'^-mi/ior):. by. —. m^^^^^ES^^-^m^^ Ib-O). (8 a).

(175) tg.. PRELUDE AND FUGUE IN A-MAJOR.. a passage,. the. a^. but:. etc.,. b'^. harmonic essence of which. jgc. is. not d^. e^. *. T. tf ffi-. which the Phrygian This leads to the. in. II"d. xv--^v. f\. first. should. be noticed.. measure) the theme in F^- minor. —. I. C^-nmior (parallel minor in the alto.. 3^. c\. soprano; further, after two measures of modulation E-major being exchanged for 4^: ấ f, ^' ^'"). in the. —. d. e. (modulating) section, and there follows directly. (with elision of the. (3^. cJt'. — 4«),. turns. to the. first. An to. dominant). episode of. B- minor. —. the. five. theme. measures. (parallel. Cj-. in (2. —. 4,. of the under-. —. —. dominant: ^g\ [= ^iu<] V?), and in the repetition /it' of the second group, back to the principal key i^f% [= ^H-^^ ^6j gi whereupon (with elision of the fifth measure) the bass (an octave lower than in the exposition) gives out the Dux in A -major but as in the accompanying voices at the end of the first section the Mixolydian bending of the leading-note (here g^ in place of gC) and two additional measures (7^ 8^), transform this Phrygian. —. —. -^. —. —. bend {b. into a half-close. a g. f^. on. /Jj',. in the sense of ^'. as there, into. [= b^^—f^'^.. one on. And. ^jf'. then,. as in the first section, the bass spins out the concluding motive of the theme in form of sequence. But now, in place of the expected theme entry in B-7?iitior there follows another appendage (triplet of measures for 'jb—Zb) in which the bass inverts the concluding motive of the theme, likewise forces its way upward, and leads to a half-close. on «':.

(176) SECOND PART.. i66. ^ SE^^^ P—0-. '^=r^ fr. Vit. «f#.. =-!. d%. Pi^^ (Sb). The delivery of the theme by the soprano, in the key of the underdominant, which immediately follows, announces the approaching end, and could therefore be as indeed also the preceding delivery of the Dux reckoned as belonging to the closing section; but this acceptation would not allow of an equivalent, as regards It would probably feeling, for the intense restlessness. be much more reasonable to look upon the after-section which follows, and which leads back to the dominant, as This after-section is still belonging to the middle section. entirely evolved from the concluding motive of the theme,. —. and. its. harmonic contents are. d^'. .^.. «'''. <?' |. —. ^' [=<5^^^l3]. (6). ^'. ^"^ i.e.. the concluding. ^*". which appears in place of. ^i. I. (8). (which expectation. is. ration) has therefore (cf.. strengthened by the rtl of the figunot tonic, but dominant meaning. Catechism "Harmonielehre". p.. iii),. /.. e.. the. close. becomes a half - close. That is also the inner reason why the delivery of the Comes by the alto which now follows, has such a variegated appearance;. i^ U-. i=f=f^ f# 9>. '=1 V. -^'. y "fit. 9. (=d'). m^.

(177) ao.. PRELUDE AND FUGUE IN A-MINOR.. m. 167. ft— r:. 5J-. b. (=b^). d+. (e'l). The key of the dominant ought not again The suspense now becomes more intense, for, the second group. is. to first. prevail of all,. twice repeated (the concluding motive. theme is employed with cadences to a^ (4^), d^ (4/^) and half- close on ^^ (4^), at which moment the soprano enters triumphantly (with 4^ 6) with the Dux, bringing the whole to a conclusion (there only follows a close-confirmation of one measure). of the. =. II.. 20.. PRELUDE AND FUGUE The. prelude. is. piece, evolved with. Non. IN A-MINOR.. an extremely wonderful chromatic unexampled art from a short theme:. allegro.. I^^^^^^SS^ ^^1. V. ^.. -t—. ffl. ^. f. —#. #-3. (4)3". This thought. =. of all repeated (with 4 6) with followed by two confirmations of one measure (8^, 8^), forming a cadence, first in D-minor^ and then in E- minor. The motive of these appendages is developed from the principal theme, but assumes an independent form: voices. is. first. reversed, and.

(178) SECOND PART.. i68. The first period is repeated in E-minor (beginning with voices reversed; and, later on, with original position), followed by four cadence displacements similar to the ones mentioned above (to A-mifior, D- minor [/jj], G- major, C-major\ the independent character of these intermediate thoughts deserves note), then the principal thought in C-??iaJor, and immediately afterwards (4=6), with voices reversed, in G- major. The following period now takes up the motive of the intermediate thought, with symmetrical structure^ in measures i 2 the second motive is introduced, passing to the keys of G- major and -minor \f^\ in 6 the 4 the principal thought, in D-minor\ in 5 3 second motive passing to the keys of G-major und A-minor\ -minor. Here, and in 7 8 the principal thought, in. —. —. —. as a return has. D. —. A. been made. to the principal key, the. first. section really ends; but, in order to make the repeat effective, a kind of coda is appended, in which the second motive is introduced four times (in A-minor^ D-minor [/"Jf], G-major, and closing in C-^najor), and then, with free transformation of the same, there is a half- close on ^'r. Ft=^.

(179) to.. PRELUDE AND FUGUE IN. A-MINOR.. ,. 6q. ^. =. is repeated in the after -section (4 6), with voices reversed, in D-mmor. An intermediate half-period introduces, four times, the inversion (free) of the second thought, it. =. in A-inmor and G-major\ a new period (4 2) introduces the principal thought, inverted in E- minor and A-7?iinor\ then follows an intermediate half- period with the keys of. C-maJor, D-minor, G-7?iaJor, C-7najor (in last three, halfcadences), a period, with the principal thought in its original form (not inverted), in -minor (starting with 2) making a half- close, whereupon (with 4 4 6) the inverted principal thought (in A-initior) brings the period to a close. The rest is coda, which, during two compound periods, holds fast to the key of A-mifwr: measures i 4, the intermediate thought based on the harmonies ^e ^vii <^' e'^, and the after-section (4=6), on the principal thought. A. =. =. —. I. (8). =. .. A-mmor\ the second period (with 8 2) contains the principal thought inverted on the harmonies a^ ^a, and not inverted, on the harmonies e"' ^e. The appendage of one measure at the close of the first section of the piece reappears here as a whole-close confirmation. (free) in. —. —. The fugue a 3 is of special weight and power: it is similar in character to the D-major fugue of the first book, with. run. which. it. has. the. sharply. marked demisemiquaver. common. (here, not in the theme, but in the counterpoint), also to the G-mi7ior fugue of the second bo ok, though superior to the latter in piercing sharpness. For the rest, it is worked out without any special display in. of contrapuntal devices. The theme advances, during its half, with powerful step {Anda?ite maestoso), and its second half follows in a similar strain (it should be noticed that the second half is almost an exact reproduction of the first, in diminution). It begins with the fifth of the toniC; and, as it does not modulate, demands for the first note the answer in the 4**^: first.

(180) SECOND PART.. lyo. Comes -. i^ pr^^^-r-^ Dux7. L. '. 7 (2)^r. \. fl^. C.^^^^. Countersubject. i^ :f:»t? '. ib^. ^^i ^. SeS. •>z. ^-P—0-. K. (8). fr. here noted, which faithaccompanies the theme, the concluding motive of the theme is specially employed in the counterpoints to the theme, and in the episodes^ the demisemiquaver runs appear sometimes broken off more sharply even than in the countersubject^ for example (i^' episode):. Besides the countersubject. fully. (4 b). (4aj. or. else,. tlieme):. inverted,. in. unbroken runs. (last. entry' of. the.

(181) 2o.. PRELUDE AND FUGUE IN A- MI NOR.. 171. ig^^l^^^E^^^. i^s No. really. The. new. material. structure. is. is. further. as follows:. employed.. —. pt Section (in the principal key), including only the development: Dux in the bass, Comes in the alto, and, after two modulating confirmations, each of one measure [D-nmwr, C- major), Dux in the soprano. The episode (2 confirmations of one measui-e, and a modulating one of two measures, to G-major, F-major, closing in C-major)y which follows, leads already to the. first. 11"^ (modulating) Section.. /. The theme, beginning. with. introduced in the key of C- -major (parallel); the close (measure 4), as in the first and second episodes (only four times), is imitated with modulation through the keys G-major, D-jfiajor, A-minor and E-viinor. At the fourth confirmation (with 4 a 5) the Comes enters in the soprano, in the key of E-minor, so that we again approach near to the principal key. Also here, three close - displacements of one measure to JD-ininor, C-7?iajor, A-minor (half-close) appear again as episodes*, and, holding fast to the principal key, there follows one formed of two measures. All these close-displacemnts are quite in a similar manner, viz. with the concluding member of the theme as chief material, and the semiquaver run, or concluding motive of tne couniersubject, as counterpoint. e (therefore. Comes). is,. at first,. ^. III. The concluding section first introduces the theme (beginning with d c, therefore Comes !) in A-minor, then again, as Intermezzo, the close-displacements of one measure, but this time with the concluding member of the countersubject.

(182) SECOND PART.. j-2. as principal material, while the theme appears with figuration. concluding. member. of the. ;|^#^ The keys passed through. are:. D-minor. (4a),. G-majo?- (4b),. C-major (4 c), F-major (4d) and D-minor (4e). close. is. bass {a. —. frustrated b\?),. The. last. by the deceptive progression of the. while (with. 4e=s). the soprano. out. gives. the theme (Dux), but in D-mi?ior (under-dominant); the close in the key of the under-dominant, not harmonically satisfying, is followed by a new after -section (close -formations of two measures similar to the former ones of. one measure, but by the form of cadence at once recognized as related to each other) passing through C- major. back. to. A-mi?wr. {^a. [=/6]_^7. |. c+-. /6 [=^vin. ^7. 1. 0^)^. (8). (6). which key a freely formed cadence is still appended 8a), at the conclusion of which (with 8a 5), the theme (in A-??ii?wr, but beginning with d c) \s given out once again in the bass. The piece ends with a single close-confirmation of two measures. We again see from this fugue that the transformations of the theme brought about by position and mode of answering, do not affect its real essence. Here the form of the Comes appears to be the real theme (it is employed in. (7a. —. =. out of the 8 theme entries), while the third at the occurs occasionally, as at the opening, to emphasize more sharply the beginning of the tonic chord. in 5. commencement only.

(183) it.. PRELUDE AND FUGUE IN. n.. B^ -MAJOR.. 173. 21.. PRELUDE AND FUGUE. IN. B^^. -MAJOR.. A prelude, sonata -like in form, and of extended development (87 bars of the original notation, not counting the repeats of both sections). The opening, and principal thought is written strictly a 3, and is set out in polyphonic character (with imitations in the two undervoices):. Assai vivace.. m^^®. •Li-jt. (4:. (2). ^e:>— ^-ft ^^^ip fcitf. i. V. (4)^d. (2) (half-close in the principal key). ^^m. »-^.*-. Sa-. :*-#. ::h= (8). cS. -. (half-close in the dominant).

(184) 174. SECOND PART.. There follows a contrasting thought (^ 2), which balances first of all on the chord of six-four (<:$), passes on towards B^ -major (/J), and makes an unsatisfactory close in that key (third in the bass)^ this key of B'?-i?iajor produces, however, quite the effect of under-dominant of F-major, so that a further period has to be added, which makes, anew, the modulation to the dominant key. The latter is then maintained until the close of the section which, indeed, makes a wide digression (up to the chord The subordinate of the Neapolitan sixth y2> [^{7^-]). thought (in stretto with the under-voice) is as follows:. (after-section likewise, in B?-7najor^ with. reversed voices).. the second modulation, which joins on, really introduces a kind of second theme:. The period completing. i4;. -f=^V. ^-= ^^=^^B^EEfc=: -. (4 a). ^M^^Ms^^m (8-4). eK. 6. V.

(185) a/.. PRELUDE AND FUGUE IN Bl -MAJOR.. 1?5. (8) f-. The remainder of the first section, especially after repeated confirmation of this close in the dominant key, again resembles the first theme in structure, and forms a genuine cadential period. It contains an extraordinary annexed motive to the fourth measure, and it is noteworthy, in that the second (development) section opens with an imitation of the same: the. w^^^^^m i ^^. :^^= -*-•—. fc^. -^-^. -2^. ss. -i •-. /r. (1). (4 a). 4^. follows the complete after-section without elision measure). The second part takes up, first the concluding thought, and modulates with it through B"^- major to C-minor, then introduces the second theme, turning the same towards G-ininor (parallel; cf. the repeated cadences in this key). Then the first theme is repeated (but not quite faithfully), and also the intermediate thought, which closes this time in C-minor \ thus the key of the under-dominant is reached, and made the most of. But the master cannot satisfy himself; and so after reproducing the whole of the thematic material of the first part, he follows on with a long development based on the first theme and concluding period, strictly k 3; this breaks oif with a half-close on /^, while a coda, mostly ^ 2, (after. of the of all. fifth. forms a. brilliant conclusion.. The fugue. (a 3) is flowing and simple, like which, without ado, sinks down to the octave:. its. theme,.

(186) SECOND PART. Allegro moderate. pl^^^g^ (-1). The tiim-ornament {c b^ a b\?) on the opening tonic according to rule, answered by the turn - ornament ^^ i)> ^^^ ^^^y ^^^^ modulates (the rest is therefore {S This fugue has no real countertransposition in the fifth). subject, but the counterpoint to the Comes: is,. f. -#•. ~«^. d|^-S=^ (8). forms the starting-point and basis of all the other counterpoints; both the quiet crotchet movement belonging to the above, and especially the syncopation of the closing member are repeatedly employed, the latter for the first time, and in a striking manner, in the alto entry of the. second development:. ^|fe^E^^£fe^^ The counterpoint to the soprano entry, both in the second and in the third development, appears formed in a similar manner; the same figure, in descending form, appears in the episode following the latter. Many of the counterpoints, however, consist of plain third- and sixth-doubling of the.

(187) rRELUDE AND FUGUE IN. 21.. theme. ^. to the. J77. the fine, contrasting holding notes, as counterpoints theme, also deserve attention:. i (2"«1. ist. bass entry of the. development).. ^. §iifc|. El^Efe. iSi^^. 223. 2nd development, alto entry.. -^. d2f. (Mixolydian bending). bass entry of the same). §*. ^. i^pg. b=*:. i. -iS^. eE (ist. 3"'d. BJ- MAJOR.. 3rd development, alto entry.. i^gj^^. T=?2^=1:. development, soprano entry,. last. soprano. entry.. eSIe 2nd development, soprano entry.. The. construction I.. Section:. is. Dux. as follows:. —. Comes in measures, Dux. in the alto.. the soprano;. an episode of four in the bass, with two measures of improved close (7^ 8«), but with 8« = 2; and two more free measures which proceed to the dominant, so that a redundant bass after. —. entry (lower than the first; apparently a 4^^ voice entry) brings a new period to a close (Dux [I] in F-7/iajor). But as the soprano makes the Mixolydian bend {e^), a new after -section becomes necessary; at the 8'h measure, this arrives on the second upper-. =. ^j7fi^), dominant (^7 and hence, for a proper close, two more measures are required. By a confirmation Riemann, Analysis of Bach's "Wohltemperirtes Clavier'*. II. .«.

(188) SECOND PART.. •78. of one measure, the close in the dominant key is as a final, sectional one. II. Sectio7i: Dux in F-major in the alto, and a free after-section modulating back to the principal key^ then, Dux in ^b-w^y^J'r (principal keyl) in the soprano, and free after-section modulating to the parallel {Ginmor)\ further. Dux in G-miuoi- in the bass, and free after -section (with 4 5) modulating to the underdominant {E'?-7najor). With that, the theme has been carried through all three voices, and there begins, still part of the second section, a third development: Dux in E\> -major in the alto, free after-section (with 4=5) modulating to C-nmwr (parallel of the underdominant); further, after a confirmation of two measures. Dux in C-minor in the soprano, but which already conveys the impression of C-m'mor as <?b^, which then, with change of meaning of the fourth measure to that of sixth, (1) actually comes into The period and section finally end with a force.. marked. =. close in B?-?naJor. pleasing sequence, formed from III. Section: the descending syncopation motive of the countersubject, leads, by means of a free period of eight measures (but with elision of the fifth measure), to. A. VII. the. half, close. on /' (^b+ eV\^. H^"^. d'' I. %. (2). ^b^ a^^. ^1?'. e^^-\ I. (4). fi^ h^^-. 6 I. ^t?6 I. f'\ and con-. (8). (6). firms the same by a two-measure close in F- major (/' ^b^' '^'^ 1-/^")- Now the soprano enters with the Comes (which had almost fallen into oblivion), but withdraws it from the key of the dominant by means of a convenient a^ The after-section closes still again per inganno (prepared deceptive cadence V) in G-7ni7wr, so that a new after- section d"' .. —. The latter opens with an improvement of the second group (3^ 4^, breaking off allarga7ido with sf on /^), and then, taking the second upper -dominant (0^*) at the sixth measure, concludes smoothly on the tonic. There still follows only a cadence of one measure.. becomes necessary.. —.

(189) tj.. PRELUDE AND FUGUE IN b"?- MINOR.. II.. 179. 2 2.. PRELUDE AND FUGUE. IN. Bi^-. MINOR.. Two. of the most powerful numbers of the second work lie before us: both particularly rich in contrapuntal art and yet without any trace of exaggeration. At every nook and corner the prelude betrays the possibilities of contrapuntal formation, but from these Bach turned aside. For instance, only see how the opening motive (the turn, and the step of a second which is approached by interval of a 4^^), is constantly appearing in the opening measures. part of the. Allegro risoluto.. L. .. Si. ^s. #-#-. Inversion.. do.. •. "^. (4). etc.. .^^^. All these allusions, as the piece stands, do not concern us; we have merely to consider what Bach selected from this fulness of possibilities for the fugal treatment of the theme. The theme, however, is not that scantyfragment; but a whole period: 12'.

(190) SECOND PART.. :8o. :|S^^. ^m. tel=3E. S^^^^fe :4i. cresc.. (8). This period, with slight changes towards the close, whole of this prelude, S3 bars in length. It is first repeated, after the manner of a fugue, in the dominant (joining on immediately, with elision of the first measure), and it has an improved close of two measures:. rules the. p^g (8 a). In the appended minims one easily recognizes the principal counterpoint to the first half of the theme. Quite in fugue style follows then an episode (without elision) of 8 measures, of which the graceful upward and downward floating crotchets form a characteristic feature:. etc.. ^^i^gl^^^Jl counterpoint which at the same time attention, must be looked upon as the principal counterpoint to the second half of the theme, and it appears, first of all (in the alto), in precise shape, as a transition from the first to the second theme entry:. The quaver. attracts.

(191) i2.. PRELUDE AND FUGUE IN B^- MINOR.. —. 1. i8i. 1-. Now, after the first episode, it inversion in the transition passage:. is. combined with. its. Then bass takes the lead (Dux), while the soprano, with the second half of the theme, forms a counterpoint to the first the conclusion of the theme, which, in the fifth measure, suffers the loss of its leading note (as it has to modulate to DV-7naJor), assumes the following ^. appearance. =. At the eighth measure, the soprano (8 2) introduces the theme in D"? -major (parallel); in the counterpoint, the appearance of the quaver motive, already to the first half of the theme (displaced by 2/4), should be noticed. The close is again somewhat changed, and modulates to A\^niajor. The quaver motive now appears by itself as theme, and deserves special attention, as it is imitated more than once, so that the 8^^ measure turns back and becomes 5'^. At 8a the key of A"^ -major is again reached, and this is still confirmed by two measures, whereupon the bass enters with the theme (Comes) in F-mifior (with 8 2), accompanied this. =.

(192) 1. SECOND PART.. 32. by the quaver movement, ever more intrusive, in direct and contrary motion. But this time the second half of the theme appears, not in the bass, but in the alto, and, ev d instead of indeed, lowered by one degree {e? e"? f f\f c), and modulates through E\^-]niiior to G'? -major. At the close, the alto begins with the theme in this key, but yields it up to the soprano voice, by which it is correctly carried on to the end (with twofold acceptation of the quaver motive at the close); and then the same voice (with 8 2) continues with the theme in EV-mi?wr (under-dominant), and here its presentation agrees exactly, down to the end, with the opening one. It is relieved again (with elision of the first measure) by the alto, which introduces the theme in B9- minor, and carries it on to the end; but the last notes are free, and they lead to a half- close on /"' which, however, by means of an appendage of two measures, is changed into a full-close. It is followed by a new after-section, on the seventh measure of which the bass again arrives on /', whereby the cadential effect of the 8'^^ measure is frustrated (chord of 6 4); \. =. ,. —. there. follows,. therefore,. a three. still. (three triplets of measures; the. point /);. and. first. membered period. still. over the organto a broad. and thus the whole piece comes. effective conclusion.. The fugue a 4. is. of a strong, majestic character.. With. elementary power it presses forward from the fundamental note to the fourth, but then rises, with renewed, and more but only to break off impetuous rush, to the sixth suddenly on the fifth;. —. Allegro maestoso.. ^^===1= ff. r. i. f (2). I. tif. f. ^—T-r-f?-rr7-r-r-rrC.-^-c-rLiu 1 V C. LLCJ. (4). .>^..

(193) 22.. PRELUDE AND FUGUE IN. B? -MINOR.. 183. The mild. turning towards to the third, which immediaalready belongs to the countersuLject, which altogether of a softer character:. tely follows, is. -^r-0-tf. As. I^g^Tl^d. only accompanies the theme with dark it whereas the latter bursts out into fierce anger; the concluding motive of this principal countersubject, as if in resignation, sinks down by degrees, during the episode, yet. rautterings,. before the third voice entry: dim.. — P^ ^=^f^=r^ii. p?. '^. 9p. (Ga. ^" TT (8). r-r. During this third enunciation of the theme, the voice shows traces of a second countersubject:. first.

(194) SECOND PART.. i84. im fat. ^=^. ^. ^^-jul J. fe^ 1-^i-^i. j. /3jf. ——. 1^. ^. It is as if it were gathering its strength once more, only break off suddenly in short, violent sounds, similar to sobs. Although this second countersubject never reappears in complete form, still, in many passages of the fugue, we again meet with the syncopation of the second and third crotchets and the quaver spring which follows; and also with the sobbing crochets. The fugue naturally divides itself into live subsections which may be easily recognized: Development of the plain theme in the usual I.. to. manner. as. Dux and Comes, accompanied by. the. counterpoints already shown, i^t period: Dux in alto, Comes in soprano, and, afterwards, an appendage of 8 a) leading back to the printhree measures (6 a 2"^ period: (with 8 i): Dux in bass cipal key. 4 b), and in with three appended measures (4 a, 3 b. —. back. =. Comes. —. There on an episode of eight measures, leading. after-section (with. follows. 4b. =. 5),. in tenor.. to the principal key.. II.. Stretto. of. the plain theme. (without counter-. between tenor and alto (bass is silent) at the distance of a minim, and at the interval of the upper seventh: subject). and, indeed,. first.

(195) 22.. I'RELUDE AND FUGUE IN B' -MINOR.. fel^i^. '85. ^Ei. ;p^^^. u-. i. —. (4). ^. after a triplet of measures (i measure of which removes the close to D^-viajor (4b) with 4b = 5, between soprano and bass in D?major, at the same distance and the same interval,. then. —. ^/j^),. but with voices reversed:. ,. i. etc. 1.

(196) SECOND PART.. i86. I. \. i. XI. ^. ;. J. .. ^. i. etc.. continued through 4 measures {G^ -major, D? -major)) on the cadential fifth (changed in meaning to that of first) measure begins the third subsection:. This. is. C9'?naJor, Ẩ -major,. Development of the inversion of the theme, III. countersubject, and secondary counterpoints a real inversione della fugal Bach selected that particular form of inversion, which preserves the tonic triad, in that fundamental note and fifth exchange places, while the third remains; as is known (see my "Kontrapunkt" p. 168), the dominants in that case exchange rdles, but the chord of diminished seventh of double meaning (« c e'? g\^=i^^'^ or 1^7^^*) The Dux therefore proceeds also in remains. the inversion, through the tonic triad; the Comes, on the other hand, not through the upper-, but through the under-dominant. only notice the inversion of theme and countersubject, but once again call attention to the fact that the rest of the contrapuntal material, in the main, is inverted; The section this, indeed, is fairly self evident. commences in full with the 4 voices, and this happens well, since the former episode had already prepared the inversion, i^^ period (with 4a =1): inversion of the Dux in the tenor, inversion of the countersubject in the alto, and, after one measure of close-confirmation (with 4a 5), inversion of the Comes in the alto, inversion of the countersubject in the tenor (soprano is silent), and three closeconfirmations of one measure (likewise close dis-major). placements in Ev -minor, B"? -minor, 2"^ period (with 8c =1): inversion of the theme in the soprano, inversion of the countersubject in the. —. We. =. DV.

(197) 2 'J.. alto,. PRELUDE AND FUGUE IN 8 9- xV/NOR.. i8,. theme commencing on d? (Dux in G?- major) but d'?^', and first changing color to B'9-iiiinor. starting with. (principal key); the after-section is free, with elision of the 5^*^ measure, and modulation to the second underg7^^ [=^b'] ^e9 dominant [A?'minor)\ g?^' d?'^ \. (8). (7). =. inversion of the theme period (with 8 i), (Dux) in the bass, inversion of the countersubject in the tenor, but springing in the second measure to the soprano, the whole standing in the key of A^-mifiof"^ this key is confirmed by the first close repetition (4 a), while the second (4 b) moves to 3.. D^-major (^1?^^ section. wends. its. measure) through. ^^1?'^);. the freely formed after-. way homeward. £? -minor. to. B9 -minor. (8^^. measure), with the harmonic progression d?'^ },* [=<^|79>] o^b vii y? oy^ 'Yhe inversion of theme and countersubject is. (6*^. as follows:. Sl^^^^gg-^^ » f. [. ^. '^. tLLCr. JJ g. TJ. V_J. The character of hot impulse certainly disappears, but the wrath becomes deeper. IV. Stretto of the inverted theme. It is planned like that of the plain theme, /. e. at a distance of a minim and in the interval of the under-seventh ;. (likewise. upper. -. 9'^).. The. countersubject. is. also. wanting here, but, as if by way of compensation, it appears in the shortened after-section, and, indeed,.

(198) 1. SECOND PART.. 88. in its original (upward) direction, i^t period: inversion of the Dux in tenor, inversion of the theme in the upper 9^1^ beginning with gV in the soprano:. 1 :l^f .^-AJ5y^ rr^ ^^ rr^rT-fT"^?^^ after-section, with ehsion of 5*'^ measure, free; from the 7'^ to 8'^ measure the chromatic countersubject.. period (with 8=1): inversion of the Dux in (beginning with c) in the alto, inversion of the theme (beginning with d?) in the bass. Appendage: confirmation of one measure of the close in Fminor, and then a new, free, and shortened after-section (with elision of the 5^^ measure) which modulates to A^ -major parallel of the under-dominant {^c 2"^. F-fiii?io?'. ^. fvn. \. («). r=^}?7i ấ-. d^^. <?>').. This half-close leads. I. (8). us to the. V.. Sectiofi:. Stretto. of. the plain. the the. theme with. The first period introduces inverted Dux in AV -major (but. inversio?i.. its. = 1). (with 8 with ^b". on. opening note e\?), and the original theme beginning with g, as indeed would be suitable for the original Dux in Ap -major. Reminiscences of the countersubject occur in measures 3 and 4 (in the former, detached crotchets; in the latter, the chromatic principal countersubject). The combination is as follows:. -^. i=h^. Ei (2). T "r.

(199) 82.. i. PRELUDE AND FUGUE IN. Ef. f. B7- MINOR.. :S9. * Lfir(4). '^. c. ^ '. K. The close in A? -major is confirmed by one measure, but frustrated by means of the Mixolydian bend in the bass (^1?); the after-section is a free episode making three leaps to the sixth measure, and, indeed, by means of a motive differing in measure (three ^\^ measures);. t§^^^^^^. dt^^- gt?». ai?'. (6). Of (6b). and then there. m. db // [=bb'. (6aj. b[7VII. is a regular return to the principal period (with 8 i) introduces the Dux in its original form in the bass, and, in the alto, the inversion from g^ (as would be suitable for the inversion from f)\. key.. The. 2"^. =.

(200) SECOND PART.. lyo. k. i^i^i£^i>^\l>i:. "^^^^^^^M (4). The. is free and complete, and holds key; but, finally, the bass makes a deceptive progression (^b instead of b^'), so that a new after-section becomes necessary. This latter introduces (with 8 5) the last combination, a stretto of the Dux (soprano) with the inversion of the theme (tenor), but both with the other voices doubling in. after-section. fast to the principal. =. thirds, likewise sixths:. i. ?S K^. rt^ d. i^-. G>-. ^=F^^. 5-3. M. I. I. ^^^^^^m (6). — ^^^tJ-f-m:^^^^^ S-M-S--. {fi<. -^.

(201) S2.. No. PRELUDE AND FUGUE IN. one can properly say of. B?- MINOR.. this. 191. fugue that anything. the counterpoint; for even the last combination, resulting directly from the character of the theme, is quite free. From the preceding combinations in. it. is. sacrificed to. one might. strictly. conclude that Bach would have used. the stretto of the theme and the stretto of the inversion at the same time; and not only these, but indeed, many other combinations:. =J i&d=iy^^^^^i^ W fcl£pz?-^a. etc.. —^^m. Js^—d. Pi.1. £^=f^^i=^. !. :z. I. — -t. 4^. ^. But with these Bach would not have obtained more than with the simple third doubling, on which these combinations, in the main, are based. He might also have tried threefold strettos, for. example:. •^-^^-^. |S^^§^E^p^r^ ^3==i=:i-i. wm.

(202) SECOND PART.. 192. That Bach renounced all these combinations etc. which, under the given conditions, lay near at hand, and only took what suited him for the structure of the work, again shows the wise self-restraint of the master. etc.,. I. II.. 23.. PRELUDE AND FUGUE. IN B -MAJOR.. A. prelude of quite special warmth, and full of youthand a double fugue which forms one of the noblest numbers of the whole work, and one which has, above all, a soft elegiacal character showing itself more and more in the second half, and giving to it the appearance of an epilogue (somewhat after the manner of Schumann's "The poet speaks"); so that one almost regrets that it is not the very last number of the second book. The prelude opens with a bold run: ful. fire. I. —.

(203) 93.. and then,. PRELUDE AND FUGUE IN. like. the. remains quiet, as. if. F^- major. B- MAJOR.. 103 2"^. prelude ot this. book,. rapt in thought:. '^^^^^^^ fS). This period contains, besides, two repeated after-sections, increasing in intensity (with close moved up from the key note to its 3''^, likewise 5'^). A second period, in motive but with freer combination of scale akin to the first, and chord figures (and with the under voice proceeding, for the most part, in quiet quaver movement, and in chord form), modulates to the dominant {F%-major)\ a third (with elision of the first group) transfers the semiquaver movement to the lower voice, and adds a third voice keeping company with the upper one:. ^^^^. -#-)^-. 2^S. t. (8). Riemann,. Analysis of Bach's "Wohltemperirtes Clavier".. II.. j^.

(204) jg. S/CCONn PAPT. .. In. it. the modulatio.. to the. (/g« [=rj;m<]. Vii. gi,' i. dominant. f=^1 /S'. ^•'),. given. is. as. if. a. up. better. of, viz., the one to the parallel key; but this only appears, after C%-7ninor has been approach-. one had been thought. ed through Firmajor (.*!' /if+ [=4u^] "^S •• m' d^'^ Vj). The key is confirmed by a new after- section fagain with only two voices). |. I. The. next following period assumes a different chaturns towards the principal key, and, with exception of the bass quavers on the group points of stress (2"^, 4^*1, 6'^, %^^ measure), consists entirely of one racter:. it. voice:. ^^tt^l The key of E-major is reached at the 8'^ measure, but meaning of the latter is changed to that of 4*'\ and the n w after-section, somewhat strengthened (2 to 3 voices), con Then comes a period, throughout in eludes in B-majoi\ three voices, related to the first one a 3 (r), yet of quite independent formation (the lower voice has chord figuration in semiquaver^: the upper ones have it in quavers, with appoggiatura ornamentation); the second group is repeated, and (3a. — 4a). leads to a half- close in. D%- minor. (b^. \. b^. c%'^,. (2) . I. (-4). A. I. ^'^ ^^. I. n<. (4 a). \-ifiu<] di\. . I. vi. (6). ... '^:.

(205) 23.. [=<?{!']. . I. PRELUDE AND FUGUE IN B-MAJOR.. To. jqc. succeeds immediately a reproduction. this. (8). of the one -voice period {d), with return modulation. £. major /i'. {ai^. o«> |. .. .. .. .. [=.CJ. |. b^)\ and, further, a. new. §«'. I. "^ft. to. [='"1. period, based on the motives. I. (8). of the after -section of the. first. period. {b),. which goes to. making therein a feminine half- close {^f%X :^)i and only then does the opening theme {a) appear again B-in'mor,. —. the bass). In what follows periods of eight 2 measures with a confirmation of four measures, nothing new is introduced;, but the character of the opening run, likewise of the second period evolved from it, is m.aintained; and, with exception of a slight allusion to the underdominant {E-niajor), there is no further modulation. The fugue (a 4), as already mentioned, is a double fugue, to which fact neither Bruyck nor Jadassohn has called attention; both, indeed, have given a particularly scanty and superficial analysis of it. The principal theme advances with powerful step (in. —. the step, as. it. were,. The Comes. of iron fate:. transposition in the fifth, is possible, its task of modulating from the harmony of the tonic to the key of the dominant. The countersubject suggests a passionate wringing of hands: is. a. faithful. but, as such, accomplishes, as well as. I (4a=5) countersubject.. 13*.

(206) SECOND PART.. 196. In the first development (also in the redundant second entry of the bass) this countersubject is strictly adhered to, and gives to it that feeling of painful, intense passion, such as one is only accustomed to find in Bach's fugues A second countersubject (the continin the minor key. uation of the first voice during the third entry of the. theme). ^^ is. once again. diately. the. ^-Jrr;bl-5=±. te.|i^r^. •. ji. out in the theme entry immeand then disappears entirely; whereas. strictly carried. following,. syncopated. motive. of. the. first. countersubject,. commanding feature in the episodes of the makes its appearance in many other places The first section includes the four voice. first. a. section,. of the fugue. entries: bass. =. i), (Dux), tenor (Comes), after two free measures (with 8a alto (Dux), and soprano (Comes); and, after two measures forming an episode (with 8a 1), still another entry of the Dux in the bass (which during the delivery of the theme by the soprano, was silent). To this is annexed a free after-section (with a measure of triplets for 6. =. —. 8). completing the period, and effecting a modulation to the dominant. It should be carefully noticed that real fourvoice writing only begins at the second bass entry, and On the that the same is maintained in the after-section.. =. closing note, however (with 8 1), the tenor starts with theme (Comes), while all the other voices break off. It would be scarcely possible to indicate the entry of the At once, on its first second subject in a clearer manner. entry (alto), it is associated with the principal theme, for the.

(207) 23.. PRELUDE AND FUGUE IN B-MAJOR.. 197. which reason Bruyck and others have only looked upon as a fresh countersubject (Jadassohn, indeed, expressly that "anyhow it does not recur often"; but, as a matter of fact, it remains a feature of the scheme until it. states. the very close):. mf II.. dolce. subject. l^^j^^^^gg^ r. f L The second subject is now developed in quite The bass follows one measure later with the. order.. m. ^=::t=r^. regular answer,. 5? (4). —. and the soprano. joins on immediately (7 a 8 a), likewise of the second theme; the alto now (at enters with the first theme (Dux, but so harmonized as to modulate to G%-77iinor)^ whereupon the tenor begins with the answer of the second theme, but abandons it in favour of the bass, which gives it out in the key of G^- minor. with the i) 8 a. Comes. =. '.. i. J. #-^. a' ^^- s^s (tenor). #-#-. (2). (bass).

(208) SECOND PART.. :98. =^tt-.

(209) 23.. PRELUDE AND FUGUE IN. B- MAJOR.. 199. appears repeatedly in crotchet movement in the episodes of the first section, but towards the close of the same it is clearly extended to its later form:. It. and. ^uL. ^=^^^ y-Tf. In the delivery of the. ^. f first. r. r if. theme (Comes) by the soprano. =. i), which now follows (with 8 by bass and tenor, the latter,. this. motive. finally,. in. is. carried out. crotchets, thus. confirming our derivation:. ^^%¥=T-. ¥^^^t= ^5^E^£. -^-P(2). a*P^\=U==^ ^--(*). The alto has the second theme, which, as compared with the first combination, shows inversion in double counterpoint in the 12^^ but as compared with the second, only an exchange of voices: instead of;.

(210) SECOND PART.. The after-section consists of a free episode with the i) quaver motive of four notes, and opens up (with 8 into a delivery of the first theme by the bass in the key of G^^' minor, with the second theme in the soprano (tlie original combination: the latter beginning with the same note [gi^ as the first), and, after two closes in the aftersection, one (4 a) in F^-maJor, the other (4 b) in E-major,. =. tenor, is followed by the first theme in the second, inverted in the 12'^, in the alto: it. with. the. The harmonisation, corresponding to the first with transposed theme, modulates from E-77iajor to C%^minor. The following period, with a fore -section free in form, tends back again to the key of E-inajor (under-dominant). The delivery of the first theme by the tenor (with 4 5) therefore begins in E- major, but with the 3'"'^ g\, and turns at once to the parallel key of G%- minor \ and then the soprano introduces the second theme with quite a new combination, viz, beginning two crotchets earlier, and at the interval of a 3^^^:. =. -%=^MMMm=&A=m=. w=r. -G>-. ^i i. (6). '. ^r. (8). With this, a turning point in the fugue is reached; an episode on an extended scale follows (a period with repetition of the second group [3 a 4 a], and a marked standing-still at the 6'^ measure [6 a, 6bl, and one which leads, by digression, definitely to the principal key. In order to understand its meaning, the long drawn-out melody line of the soprano should be carefully studied,. for. —.

(211) 23.. ^'liicli,. PRELUDE AND FUGUE IN B-MAJOR.. giving. out. the. second theme,. downwards from the high. I. —. '. ^. r^. -. I. i^t. measure). —. ^ I. (4). (with elision of. has just. passed. b\. I. w.. (4 a).

(212) SECOND PART.. 202 dolce e tranquillo. m^ ^ (4). (2J. The freely formed after -section, together with its additional three measures, continues in the same style 6a; /. e. triplet for 6a 8a, not as this fore-section (8 to be taken as hurrying on, but as a spreading out triplet This after -section closes in D^- minor qiiasi calando). (parallel of the dominant), but only to render possible i). What the entry of the Comes in the tenor (with 8 a dignified effect is obtained here by the crossing of. —. =. —. =. both themes (tenor and. i. «/};. I. alto):. ppp^p. ^ 9^m The first theme has quite lost its stiffness; it is now permeated with the consoling power of the second. And thus, in the same way, consolation and peace obtain the mastery in the free after-section which follows:.

(213) 23.. PRELUDE AND FUGUE IN B-MAJOR.. 203. ^^ (8). The. sequential form of this after- section necessitates which brings the Dux for the last time in the soprano, calmly and quietly spreading a bow of peace over the other, no longer contending, voices. a new. (2"^^. after -section,. theme. in tenor):. mf. % -ir^^. ,^. jst. fi^. -UM=h^MMM. ^^. —#-. (8). ^^•-.

(214) SECOND PART.. 204. A. —. close -confirmation of three measures (6 8) and five measures (4a, 5 8) constitute the coda: the first with different pairs of voices moving in thirds, and, at the 8'^ measure, a Mixolydian turning from a\ to a\\ and the second of wider extent (second upper- dominant 0Jf®'), with a free transcription of the second theme, and a gentle allusion to the syncopated formations of the first countersubject. In truth this fugue is the real epilogue of the Welltempered Clavier!. —. one of. II.. 24.. PRELUDE AND FUGUE Our admiration of. the. two. IN B- MINOR.. preceding. pieces,. and. designation as epilogue of the whole, must in no way be regarded as depreciatory of the two actually standing at the end. But these are of much lighter contents, and do not in any way show that the author felt that he was bringing a work of the first rank to a close. For this, the key is not in fault, since the first book ends with a gigantic fugue, of most serious contheir. tents, in B-mifior.. The prelude over which Bach has himself written Allegro which, however, according to the custom of his age, only meant moderate movement (but Allabreve) develops a pensive thought of two measures,. —. —. NB.. p^^^^plpJ^^iS A^=^^I^^^ dim.. }.

(215) PRELUDE AND FUGUE IN B-MINOR.. 24.. 205. which the opening period, first of all, repeats four times, tl-e two voices exchanging rdles\ the second period makes clever use of the transition notes (general up-beat) which in the first period join together the first and second, and the third and fourth deliveries of this thought (see above at NB.) in that it extends (syncopation), and makes them the chief motive of the further development;. —. —. NB,. cresc.. ^— —. #-^-^-^-*— I—^. ^.. f/. (2). NB.. ^l F#— isi. ^—.t^?. P=*. *—. 1. ^.. ^#—*_^x -. the after-section turns back the syncopation to mencement of the measure,. ^rf=a3gg^. the com-. :=^=. (6)f and leads. to a. half- close in the parallel key {D-inajor). following periods both introduce, after the the first, the principal thought four times, both major and, without real modulation (only with a^. The two manner of in. D-. [=^iii^] ^' as transition [general up-beat] between the eighth, and first measure) in E-minor (under- dominant). The following fifth period reproduces likewise, with exchange of voices, the second, but only the fore-section, which leads to G-7najor\ the after section presses on more hotly, heaps up the syncopations (without semiquavers), and introduces, in place of the 6"^ to 8''' measure, two triplet measures: -.

(216) SECOND FART.. 2o6. Then. the repeated). development of the principal thought (twice which may best be regarded as a repeated. —. after-section nant),. —. closes. and leads on. to. in F^-viinor (minor upper-domian imitation of the second period. with half- close in the principal key; a (with triplet of measures in place of 6. new. after- section confirms this with suspension. — 8). more emphatic manner, and breaks oft' and organ-point, whereupon two additional measures change the half-, into a full-close. At this moment (with 8 i) the principal key appears, but with avoidance, by means of a in. =. deceptive cadence, of the half-close at the fourth measure; the after -section boldly intensifies the harmony of the third group, and brings the piece to a conclusion without. appendage: ixt. IX^. (4). (8). The fugue. of joyous. Allegretto character, in that the theme 2, entering pertinaciously with the second group; so that, indeed, the meaning of the 8^^ measure is repeatedly changed to that of 3'^. (a. 3). is. and shows humour, almost caprice, entries always elide measures i and.

(217) 24.. PRELUDE AND FUGUE IN B- MINOR.. The theme keeps Heptachord. (II.. within. compass of the Draeseke. the. though. 12, p. 98),. 207. it. twice skips. down. to. the lower octave:. Allegretto piacevole. te. ^ ^ V. J. ]. J. )•. :*::. (*). ff.. —^. (8). The first countersubject looks, in a measure, as if were of contrapuntal complication (with exception of the answering of the opening fifth of the key with the octave, the Comes is a simple transposition in the fifth): it. Comes. ^. mr-. tt^. ><l^:. (8a=4) countersubject. yva bassa (S;.

(218) SECOND PART.. 2o8. But. it. is. short-lived;. it. is. faithfully. retained during. and is found in the preceding episode of two measures and the following one the third entry. (Dux. in. the. bass),. of four measures, but then disappears entirely, in favour of another one, which completely removes from the piece the contrapuntal fetters, and turns it into what (through the theme) it really is, a true Deutscher {Schncllwalzer)\ the Passepieds in the KatecJiisrmts da- Kompo(cf. also The new countersubject accomsitionslehre II. p. 63). panies only the after -section of the theme, and has also its caprices (the feminine endings):. S^^ Fi. The perfect grace and "liveliness" {Feschheit) of this true Waltz, or Landler motive first makes itself prominent, in the and this occurs three times when it appears upper-voice. Of other counterpoints, only the one in the. —. —. soprano accompanying the deserves mention:. bass. delivery. of the. theme. expressive syncopations afterwards playing an important Bewitching is the formality witli which the first countersubject withdraws to make room for the second:. its. role..

(219) g4.. PRELUDE AND FUGUE IN. Theme. w. B- MINOR. 2og. i. ^ii^ l^pi^^ NB?. (8c=3). (4). we. enter into further detail with regard to the trow not! Everyone, who from our account has grown fond of the piece, will easily recognize the three sections (I in the principal key, II in foreign keys, III in the principal key), and assign to the episodes their need only call attention to finely delicate places. points such as the first episode of the second development with its three - measure rhythm, in spite of its similarity to the theme; Shall. structure?. We. We. ^^^^^ also the connecting feminine endings of the long episode between the second and third sections:. and, finally, the most charming escamotage of the theme (Dux) in the principal key again reached by the artful. —. springing up of the bass with the theme in the underdominant at the beginning of the concluding section:. —. Riemann,. Analysis of Bach's "Wohltemperirtes Clavier".. II.. jj.

(220) SECOND FART.. 2IO. ". =^. C^^ !f. ^. I. '^. dim.. IN 1^. Q^ P^. —#if:-!^-. These are genuine flashes of genius (cf. also the last measures in which the theme gradually glides away). Thus I close the "treasury of polyphony" ("Schatzkastlein der Polyphonie") without any other epilogue than the one given in the B-mmor fugue. I hope, in a third volume, in which I propose to analyse the "Art of Fugue" ("Kunst der Fuge"), to make some general remarks on fugue composition..

(221) /. T/2/1925. MUSICAL TEXT BOOKS AUGENER'S EDITION ENGLISH PRINTING & PAPER Net s. d.. 9171. ALEXANDER, J. to. 10123. ". Con Amore.. Poetical Introduction. Musical Instruction. ANTCLIFFE,. The Successful Music Teacher.. H.. Second Impression 10124. 10125. How. The Amateur. BACH, J.. Woids. Analysis of. Part. 9206. Part. II.. 24. Fifth Impression.. Bound. 3. -. Letters. Dawson. 3. 9. Elements of Music, to Write Music'. 1. G. to the. 1. C.. Practical Hints. 1. 6. 2. (".. 2. 6. Paper. 1. 6. (English-Italian). -. 9. 1. 6. CARSE, ADAM. Summary with Exercises. 10092. -. Lady, by Dr. C. Reinecke, translated by E. M. Treveneu. 10091. 6. 1. Fourth Impression. Bound. BEETHOVEN PIANOFORTE SONATAS. to a. 1. S. Bach's "48 Preludes and Clavier). By Dr. H. Kiemann.. J.. „. ,,. Successful. Paper Second Impress.. of Advice.. Fugues" (Wohltemperites I. 24 Preludes and Fugues.. 9205. 9210. Words Singer.. S.. The. Music Examinations. of Advice. to Pass Candidate.. of the on ". & Instructions. How. above on Orchestration Harmony Exercises. Figured basses, melodies and. Key. unfigured basses for harmonization. 10085. 10086. Book Book. Paper Paper. I.. II.. CLARKE,. A.. J.. Catechism. of the. Rudiments. of Music.. 384th Edition. COCKING, 9215. The Composer's Vade Mecum.. F.. CROKER, NORRIS.. Handbook. for. Singers.. Impression 9199. Bound. DANNREUTHER,. E.. Opera 10097. DAUGHTRY, Them.. Sixth. Wagner and the Reform ot the Bound with Portrait. O. Ear-Tests and Impression. How. to. piepare for. Fiftii. EVETTS, EDGAR. T.. The Vocal Student's. Practice. Register with Vocabulary. Modulator for use of Students. of. the. Numeral. and. Rhythmic Methods (Vocal) 9179. GOODWIN, Touch. A.. Pianoforte. of. Technique and With Illustrations.. Practical Hints on the. Playing.. Fifth Impression. HAMILTON.. HE ALE, H.. A. Dictionary of Musical Terms.. Bound Bound 2/3. Short Treatise on the Rudiments of Music. 16mo.. 3. -. 1. 6. u.

(222) RIEMANN, 'J205. Part. I.. Dr. H.—{Cotitd.) 48 Preludes and Fugues. J. S. Bach's 24 Preludes and Fugues. Fifth Impression.. 9206. Part. II.. 24 Preludes. Net. ". Analysis of. Bound. ROCKSTRO, W. Key. S.. to " Practical. and Fugues.. 9212 9211. Practical. Harmony. Harmony. .... Bound Bound. ". Rules of Counterpoint Bound History of Music. Twenty-fifth Edition. Bound RUBINSTEIN, A. IMusic and its Masters. A ConversaThird Impression tion. Bound SCHROEDER, C. Handbook of Violin & Viola Playing. Fourth Impression Bound Catechism of Violoncello Playing. Fourth Impression.. Handbook. of Conducting.. (J-. Matthews.). I-ifth. lOlir.. SCHUMANN.. 10148 10149. Young. .Musicians. I.. II.. 8 3. 3 -. 3. -. 3. -. 3. -. 3. -. 3 -. 9. 1. 6. -. The .... Dr. F. G.. Elementary Ear-Training. Second Impression I. Melodic. II. Harmonic and Contrapuntal A M'ethod ot Teaching Harmony based upon Ear-Training. 10150. 10153. to. S. Beethoven Pianoforte Sonatas. Origin and Respective Values of Various Readings. 10151 10152. Advice. SHEDLOCK, J. SHINN,. -. 3. Impres-. Bound. sion 9194. 3. 2. Bound 9213. d.. Fourth Impression.. A. 9198. s. '. Harmony. Diatonic. Chromatic Harmony and Exceptional Progression. Second Impression Musical Memory and its Cultivation. 6. -. 6. -. 6. -. 7. 6. 6. -. 6. -. 1. 6. Examination Aural Tests and how. to study them in prepatlie tests given in the Examination of the Associated Board, and in the Diploma Exaniinatons of. ration for. the R.A.M. 10121 10181. 10132. 10133 10131. 10135. 9196. andthe R.C.M. SIBLEY, C. The Voice and its Control SIMPSON. J. 300 Questions on the Grammar. of Music. the Syllabus of the Associated Board of the. Based on R.A.M. and R.C.M Key to the above .. 400 Questions on the Rudiments of Music. Eighth Impress. Key to the above A concise text book on the Rudiments of Music. STEILER,. The Great German Composers. BioNotices, with some account of their Works. Illustrated. Bound. 6. 1. 6. 2. fi. 2. 6. 2. 6. J.. graphical. 5. -. Bound. 3. Catechism of the Harmonium WE.ST, G. F. Hints to Young Teachers of the Pianotorte A. 200 Questions and Exercises on F. Davenport's " Elements of Music '. -. 9. SUTTON. .. Elements of the Theory of Music.. R.. 133rd Edition. 10109. 1. WARREN, J.. 1. S. -. 9. WHITTINGHAM,. AUGENER 18 i;:<. CONDCIT. Ltd.. GREAT MARLBOROUGH St St. Corner) & 57 HIGH SJ. ST. (Regent. LONDO.X, W.. 1..

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Analysis of J.S.Bach’s Preludes & Fugues Part 2 – Riemann

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